20th Century & Contemporary Art & Design Day Sale Hong Kong, 25 November 2019 二十世紀及當代藝術和設計日間拍賣
120. George Nakashima 中島勝寿
155. Kazuo Shiraga 白髮一雄
160. Lalan 謝景蘭
150. KAWS
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20th Century & Contemporary Art & Design Day Sale 二十世紀及當代藝術和設計日間拍賣 Hong Kong, 25 November 2019, 10:30am
Auction & Viewing Location JW Marriott Hotel Hong Kong 88 Queensway, Admiralty, Hong Kong
Auction 設計部門
Monday, 25 November 2019, 10:30am
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22 – 25 November Friday – Monday 10am–6pm Saturday 10am–7pm
When sending in written bids or making enquiries please refer to this sale as HK010419 or 20th Century & Contemporary Art & Design Day Sale.
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拍賣及預展 香港JW萬豪酒店 金鐘道88號 拍賣 2019年11月25日，上午10:30時 (拍品編號 101–214) 預展 22日 上午10時 – 下午 6 時 23日 上午10時 – 下午 7 時 24日 上午10時 – 下午 6 時 拍賣名稱及編號 在遞交書面和電話競投表格或查詢拍賣 詳情時，請註明拍賣編號為 HK010419 或 拍賣名稱二十世紀及當代藝術和設計 日間拍賣。 委托競投及電話競投 電話+852 2318 2029 傳真+852 2318 2010 bidshongkong@phillips.com
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146.
Felipe Pantone 費利佩．潘通
152. Yue Minjun 岳敏君
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101. Jonathan Lyndon Chase
b. 1989
Hacate signed and dated 'Jonathan L Chase 2017' on the reverse glitter, acrylic, marker and graphite on canvas 88.9 x 61 cm. (35 x 24 in.) Executed in 2017. Provenance Kohn Gallery, Los Angeles Acquired from the above by the present owner Exhibited Baton Rouge, Louisiana State University Museum of Art, Semblance: The Public/Private/Shared Self, 27 June - 6 October, 2019
喬納森·林登·蔡斯 《赫卡忒》 閃粉 壓克力 簽字筆 石墨 畫布 2017年作 款識：Jonathan L Chase 2017 (畫背) 來源 洛杉磯，Kohn 畫廊 現藏者購自上述來源 展覽 巴頓魯治，路易斯安那州立大學博物館， 〈假象: 公眾/私人/自我共享〉， 2019年6月27日-10月6日
HK$ 40,000-55,000 US$ 5,100-7,100
Based in Philadelphia, Jonathan Lyndon Chase is a young painter who is breaking new ground, inventively tackling issues of race, gender and sexuality in his mixed media works. Highlighting his personal struggle in coming to terms with his identity as a queer black man in contemporary America, he creates a world of weightless, cosmic dimensions in his paintings. In this present lot, the artist depicts the side profle of three full-bodied fgures melting into one another’s physical boundaries, curvaceous with elastic limbs, locked in a moment of sensual ecstasy foating in ambient blue and midnight black. The title that Chase chose for this work shrewdly nods to Hecate, the Greek goddess that embodies the three faces of maiden, mother and crone; yet he tenaciously evokes contemporaneity through genderdefying, androgynous features, who like Hecate, sees into the dimensions of past, present and future. The impact of these fgures is emotionally profound as it could be seen as a window into the artist’s own life or further interpreted as a self portrait, where Chase undertakes and acknowledges his bipolar disorder. “The highs and the lows of how I see the world can be really overwhelming and then really beautiful. It is a way that helps me be sensitive to nuances in diferent ways.” he explains (the artist quoted in Miss Rosen, “The artist painting beautiful, raunchy stories about queer life”, Dazed, 26 April 2018, online). Hacate is about the passing of time, the anxiety, pain and pleasure that the artist has experienced through his body and is at once refreshingly raw and authentic. Selling out within a day of the opening at his debut show at Kohn Gallery in 2018, Chase is a rising star with works in the collections of the Walker Art Centre in Minneapolis and the Institute of Contemporary Art Miami, as well as the private collections of Beth Rudin Dewoody and the Hort family.
年輕畫家喬納森·林登·蔡斯現居費城，他經常突破新的 領域，在其混合媒材作品中以創新手法探討種族、性別和 性的問題，突出他自己作為一名身處當今美國社會的同性 戀黑人，所遇到的掙扎。他在畫面上呈現了一個無重力 的廣闊空間，本幅作品所畫的是三個側面的全身像，他們 一點點融入彼此的身體邊界，曲線玲瓏，四肢富彈性， 仿佛是鎖在背景藍色和黑色間的一個肉體狂喜時刻。 蔡斯為此作選擇的題目機智地向希臘女神赫卡忒致敬， 赫卡忒包含了少女、母親和老婦三位一體。但蔡斯的作品 通過其雌雄同體而挑戰性別概念，有著強烈的當代感。 如赫卡忒一般，經歷過去、現在和未來的不同層面。 這些人物蘊藏的情感深摯，就像一扇窗，看向藝術家自己 的人生，甚至可以把它視為一幅自畫像，蔡斯在其中承認 自己的躁狂抑鬱症。藝術家解釋道： 「我眼中這個世界的 高潮和低潮有時會讓人很不知所措，但有時又是非常美麗 的。它幫助我以不同方法對細小差異保持敏感度。」(藝術 家，錄於Miss Rosen， 《這位藝術家畫了一些關於同性 戀生活的美麗、淫穢的故事》， 〈Dazed〉 ，2018年4月26日， 截自網路)《赫卡忒》是時間的流逝，還有藝術家通過身體 感到的焦慮、痛苦和愉悅，既赤裸又真實。蔡斯2018年 在 Kohn 畫廊的首次畫展在一天內就全部售罄。其作品 現已被納入美國明尼亞波利斯的沃克藝術中心和邁阿密 當代藝術中心的收藏。同時, 也進入Beth DeWoody 和 Hort 家族的私人收藏。
102. Genieve Figis
b. 1972
Birth of Venus (Afer Alexandre Cabanel) signed and dated ‘Genieve Figgis 2018’ on the reverse acrylic on canvas 120.2 x 150 cm. (47 3/8 x 59 in.) Painted in 2018. Provenance Almine Rech Gallery, Paris Acquired from the above by the present owner Exhibited Dijon, Consortium Museum, L’Amanach 18: Genieve Figgis, 22 June - 14 October 2018
珍尼維·菲吉斯 《維納斯的誕生 (追隨在亞歷山大·卡巴內爾之後)》 壓克力 畫布 2018年作 款識：Genieve Figgis 2018 (畫背) 來源 巴黎，Almine Rech 畫廊 現藏者購自上述來源 展覽 第戎，法國第戎集團美術館， 〈18號年曆: 珍尼維·菲吉斯〉 ， 2018年6月22日-10月14日
HK$ 250,000-400,000 US$ 32,100-51,300
First unveiled as part of the third instalment of the international biennial, L’Almanach 18: Genieve Figgis, at the Dijon Consortium Museum in France among ffeen other oils on canvas, Birth of Venus (Afer Alexandre Cabanel) is a prime example of the artist’s pursuit and exploration of history as a constant starting point for her work. One of the many alluring nudes on view at the Paris Salon of 1863, Alexandre Cabanel’s Birth of Venus (1863) was received in triumph as it perfectly embodied the ideals of academic art, with highly idealised bodies carefully modelled in silky brushstrokes, and more importantly, set against the backdrop of a mythological and allegorical ‘pretext’. While Cabanel’s Birth of Venus was shown to great acclaim at the ofcial Salon, one other work caused great controversy at the Salon des Refusés (the Salon for the rejected), Manet’s Le Déjeuner sur l’herbe, where he featured a female nude in a contemporary setting seated with two clothed men in the countryside, thereby transgressing the rules of academic painting. Looking to Cabanel’s masterpiece as her main source of inspiration, Genieve Figgis makes a bold statement. She puts her own contemporary spin on the classical subject that was once seen to embody the perfect ideals of academic painting, not shying away from questioning the validity of taste and bringing home the importance of non-conformity when it comes to originality and the personal vision of the artist. Reinterpreting the classical female character in a whimsical and humorous manner, Figgis renders Venus with skull-like and animalistic features, bathed in rich and eye candy colours that seemed to melt through paint, like candle wax, calling to mind the small fgures that remind us of our childhood. She dissolves their forms against each other and blurs the contours of their bodies with the same assurance as a deforming mirror in a fun house, yet retaining a dreamlike quality. It is this very coexistence of the whimsical and macabre that makes the present lot all the more charming, where Figgis’s Venus hovers between an ancient deity and a modern dream. While Figgis never sets out to intentionally portray grotesque or comedic in her work, the painting is her stage and the story she paints happen by chance, allowing her to invent and direct as she goes along, with no idea of how it will end. The result is of a fascinating moment, in which the old times are refected on contemporaneity and her fgures repeat themselves masked under the diferent cosmetics of time.
《維納斯的誕生(追隨在亞歷山大·卡巴內爾之後)》， 此幅作品於法國第戎集團美術館所舉行之第三屆國際 雙年展中首次亮相，與另外十五幅油畫在《18號年曆： 珍尼維·菲吉斯》展覽中同時展出。菲吉斯致力探求歷史 淵源，以此為創作靈感起點，本作正是典型範例。 在1863年的巴黎沙龍之中，展出不少以誘人裸體為主題 的畫作，亞歷山大·卡巴內爾同年所作《維納斯的誕生》 獲得最高讚譽，該作品完美地體現了學術派美感的理想 追求，絲絨般的筆觸，精心勾勒出極度美化的身軀姿態， 重要地是，卡巴內爾更假託了神話和寓言作為烘襯背景。 就在卡巴內爾《維納斯的誕生》於官方沙龍中廣受讚譽 之同時，馬奈的《草地上的午餐》於「拒絕的沙龍展」中 引起了巨大爭議，因為藝術家在畫中描繪一個裸女與兩位 穿著完整的紳士在看似當時的鄉間景緻中席地而坐，從而 全然違反了學術繪畫的規則。菲吉斯以卡巴內爾的傑作為 主要靈感，卻藉此發表了大膽的宣言，她將自己的當代 解讀架構於古典主題上，進而考究這個曾被視為體現了 學術繪畫完美理想的古典主題，她毫不迴避地質疑該品味 在當代的有效性，並強調了藝術家應堅守原創性和個人 願景而不須屈就主流的重要性。 菲吉斯用異想天開及幽默的方式，重新詮釋了古典女性 角色，她賦予維納斯類似骷顱頭和動物般的面部特徵， 沐浴在豐富繽紛的色彩中。這些色彩如同蠟般，在油彩 流動間一觸即融，塑造出讓人連想起兒時把玩的小玩偶之 形象鮮活感。將畫中角色彼此間形體相互溶解，模糊了 她們的身體輪廓，就像遊樂園裡變形鏡子一樣，卻又保留 了如夢境般的質感。正是異想天開和怪誕的這種共存， 使本件作品更顯迷人。菲吉斯筆下的維納斯，在古老神話 和現代夢境之間徘徊。儘管藝術家從未打算在她的作品中 刻意刻畫怪誕或喜劇，但繪畫即是她的舞台，畫中故事性 也趨向偶然性，讓她在創作過程中不斷地進行發想及 導演著，帶領觀者一同探索無人知曉的結局，因而打造出 一個讓人心神嚮往的時空，在此其中，我們不難看出 她以當代性反映舊時代，她的人物則在不同時代裝飾下 重複自我。
103. Izumi Kato
b. 1969
Untitled signed, inscribed and dated ‘2012 KATO [in English and Kanji] Berlin’ on the reverse oil on canvas 48 x 32 cm. (18 7/8 x 12 5/8 in.) Painted in 2012. Provenance Residence Mirai, Berlin (in co-operation with Arataniurano Gallery, Tokyo) Acquired from the above by the present owner Exhibited Berlin, Residence Mirai, Izumi Kato Paintings, 20-29 April 2012
加藤泉 《無題》 油彩 畫布 2012年作 款識: 2012 KATO 泉 Berlin (畫背) 來源 柏林，Mirai 駐村計劃 (與東京，Arataniurano畫廊合作) 現藏者購自上述來源 展覽 柏林，Mirai 駐村計劃， 〈加藤泉畫作展〉，2012年4月20-29
HK$ 55,000-75,000 US$ 7,100-9,600
As part of the body of works that were created during the artist’s tenure at the Residence Mirai Program in Berlin in 2012, these two works are most representative of Izumi Kato’s household subject - fascinating yet enigmatic creatures with embryo-like heads and fully developed limbs. Kato depicts these fgures with a silhouette of anonymity, giving them strange oval-shaped faces with features rendered in simple forms and strong colours. His magical fgures call to mind the primitive arts, with expressions that evoke totems and the animalist belief that a spiritual force runs through living and mineral worlds alike. Painted during the artist residency program in 2012 as part of an initiative where East Asian artists were given the opportunity to work in Berlin, as well as being introduced to the European market, the two works perfectly embody the artist’s growth and maturity since his participation in the Venice Biennale in 2007, further propelling him onto the international stage with an ever-increasing reputation as a new, complex and innovative artist.
104. Izumi Kato
b. 1969
Untitled signed, inscribed and dated ‘2012 KATO [in English and Kanji] Berlin’ on the reverse oil on canvas 65 x 55 cm. (25 5/8 x 21 5/8 in.) Painted in 2012. Provenance Residence Mirai, Berlin (in co-operation with Arataniurano Gallery, Tokyo) Acquired from the above by the present owner Exhibited Berlin, Residence Mirai, Izumi Kato Paintings, 20-29 April 2012
加藤泉 《無題》 油彩 畫布 2012年作 款識: 2012 KATO 泉 Berlin (畫背) 來源 柏林，Mirai 駐村計劃 (與東京，Arataniurano畫廊合作) 現藏者購自上述來源 展覽 柏林，Mirai 駐村計劃， 〈加藤泉畫作展〉，2012年4月20-29
HK$ 65,000-85,000 US$ 8,300-10,900
此兩件作品是加藤泉於2012年在柏林參與 Mirai 駐村計劃 時所創作，代表了加藤泉藝術中最家喻戶曉的題材， 他們有趣又神秘，頭部像個胎兒，四肢卻已生長成熟， 加藤泉筆下的這些人物輪廓並不揭示其身份，橢圓形臉龐 透著些怪異，五官造形簡單，顏色鮮明。這些神奇的人物 令人想起原始主義藝術，表情似圖騰一般，如遠古的動物 性信念，相信精神是會穿梭於有機世界和無機世界之間。 此次作品是2012年藝術家駐村計劃時創作的，當時的 一個倡議是專為東亞藝術家在柏林安排工作機會，並在 歐洲市場介紹他們的作品。兩件作品彰顯了藝術家自 2007年參加威尼斯雙年展後的進一步成長和成熟，推動 他在國際藝壇的複雜又創新之新生代藝術家身份。
105. André Butzer
b. 1973
Untitled signed and dated ‘A. Butzer ‘07’ on the reverse oil on canvas 80 x 60 cm. (31 1/ 2 x 23 5/8 in.) Painted in 2007. Provenance Patricia Low Contemporary, Gstaad Paul McCabe Fine Art, Stockholm Acquired from the above by the present owner Exhibited Switzerland, Ortsmuseum Wolfalden, FÖR HITZ OND BRAND, 20 May - 9 September 2007 Gstaad, Patricia Low Contemporary, André Butzer, 6 October - 25 December 2007
安德烈·布澤 《無題》 油彩 畫布 2007年作 款識: A. Butzer‘07 (畫背) 來源 格施塔德，Patricia Low Contemporary 畫廊 斯德哥爾摩，保羅·麥凱布藝廊 現藏者購自上述來源 展覽 瑞士，Wolfhalden博物館， 〈FÖR HITZ OND BRAND〉，2007年5月20日-9月9日 格斯塔德，Patricia Low Contemporary 畫廊， 〈安德烈·布澤〉，2007年10月6日-12月25日
HK$ 120,000-180,000 US$ 15,400-23,100
Known for a highly articulate style, somewhere between abstraction and fguration, André Butzer is a contemporary German artist that coined his own genre “Science-Fiction Expressionism”, where he creates works of colourful canvases covered with broad swathes of thickly-applied paint. Through the single fgurative depiction of a female character in Untitled, Butzer returns to his personal universe of ‘Nasaheim’, which is a contraction of NASA and Anaheim, the city founded by German immigrants in the 19th century where Disneyland is now located. Portraying this explosive, chicken scratch, Guston-esque girl with large, rounded, cartoonish eyes, an infated head and oversized hands, donned with a crimson and teal dress as a character living in ‘Nasaheim’; Butzer references Expressionism but also nods to Walt Disney, making a bold statement on mass culture in modern life and society. With striking contrast and variation in colour, Butzer allows hues, tones and tints of acidic reds, pinks, yellows and greens to be diferentiated. He explains, “I consider myself a colourist, I will always be a colourist, nothing else. My vision is to create this endless colourism through the absence of naturalist ready-made colour. Visual art is an optical utopia…” (the artist quoted in André Butzer, Xippas Gallery, Paris, 2012, online). Butzer successfully taps into feelings of joy, aspiration and alienation with the use of colour and their exaggerated forms reveal an electric vibrancy. His works are in the public collections of the Kunstmuseum Stuttgart in Germany and the Los Angeles County Museum of Art (LACMA) among many others.
安德烈·布澤是一位德國藝術家，畫風介於抽象和具象 之間，具有頗高的辨識度，他把自己的藝術類別定義為 「科幻小說表現主義」，畫面色彩斑斕，充滿粗線條與厚塗 顏料。 《無題》的女主角是畫中唯一人物，布澤回歸他自己 的「Nasaheim」世界，那是「NASA」 （美國太空總署） 和「Anaheim」 （安娜漢）的縮寫，後安是十九世紀德國 移民建立的城市，現在是迪士尼樂園的所在地。筆下女孩 線條潦草，呈現加斯頓風格，卡通造型眼睛碩大圓鼓， 還有誇張的腦袋和特大的雙手，身穿深紅與藍綠色相間的 裙子，是住在 Nasaheim 的人物。布澤不僅借鑒表現主義 藝術，也對迪士尼表示肯定，對現代生活和社會的大眾 文化作出大膽的宣言。藝術家透過顏色的強烈對比與 變化，區分出紅色、粉色、黃色和綠色的調子和濃淡。 他解釋道： 「我視自己為調色師，我永遠都是個調色師， 沒有別的。我的願望就是在沒有自然主義現成色的情況下 產生無盡的色彩主義。視覺藝術是一個視力的烏托邦…」 （藝術家，錄於〈安德烈·布澤〉，Xippas 畫廊，2012日， 截自網路）布澤成功利用顏色呈現歡樂、渴望和疏離感， 人物誇張的造型帶來一種強烈的活力。其作品已被納入 德國斯圖加特藝術博物館和洛杉磯郡立藝術博物館等公眾 收藏。
106. Eddie Martinez
b. 1977
Untitled oil, spray paint, marker and crayon on paper 55.8 x 75.6 cm. (21 7/8 x 29 3/4 in.) Executed in 2016. Provenance Timothy Taylor Gallery, London Acquired from the above by the present owner
HK$ 80,000-120,000 US$ 10,300-15,400
艾迪．馬汀尼茲 《無題》 油彩 噴漆 簽字筆 蠟筆 紙本 2016年作 來源 倫敦，Timothy Taylor 畫廊 現藏者購自上述來源
107. Eddie Martinez
b. 1977
Untitled oil, ink and marker on paper 56 x 75.8 cm. (22 x 29 7/8 in.) Executed in 2016. Provenance Timothy Taylor Gallery, London Acquired from the above by the present owner
HK$ 70,000-90,000 US$ 9,000-11,500
艾迪．馬汀尼茲 《無題》 油彩 水墨 簽字筆 紙本 2016年作 來源 倫敦，Timothy Taylor 畫廊 現藏者購自上述來源
108. Peter Halley
b. 1953
Here and There signed and dated ‘Peter Halley 2011’ on the reverse acrylic, pearlescent acrylic and Roll-a-Tex on canvas 183.5 x 194.5 cm. (72 1/4 x 76 5/8 in.) Executed in 2011. Provenance Galerie Thomas Modern, Munich Acquired from the above by the present owner Exhibited Munich, Galerie Thomas Modern, Peter Halley, 9 September - 19 November 2011 Literature James Kalm, Peter Halley Studio Visit. Preview of New Paintings, 14 July 2011, video (1.49 min) Jack Johnson, ‘Peter Halley Studio Visit’, Cool Hunting, 27 July 2011, online (illustrated)
彼得．哈雷 《這裡那裡》 壓克力 珠光壓克力 Roll-a-Tex顔料 畫布 2011年作 款識：Peter Halley 2011 (畫背) 來源 慕尼黑，Thomas Modern 畫廊 現藏者購自上述來源 展覽 慕尼黑，Thomas Modern 畫廊， 〈彼得·哈雷〉， 2011年9月9日-11月19日 出版 James Kalm 拍攝， 〈彼得·哈雷工作室參觀新畫作預展〉， 2011年7月14日 (視頻, 1.49分鐘) Jack Johnson著， 〈彼得·哈雷工作室，酷獵〉， 2011年7月27日，線上 (圖版)
HK$ 600,000-800,000 US$ 76,900-103,000
109. Nicolas Party
b. 1980
Landscape watercolour on paper 57 x 76.5 cm. (22 1/ 2 x 30 1/8 in.) Executed in 2013. Provenance Galerie Gregor Staiger, Zurich Acquired from the above by the present owner
尼古拉斯·帕爾蒂 《風景畫》 水彩 紙本 2013年作 來源 蘇黎世，Gregor Staiger 畫廊 現藏者購自上述來源
HK$ 320,000-450,000 US$ 41,000-57,700
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110. Shara Hughes
b. 1981
Two Pricks signed, titled and dated ‘“TWO PRICKS” 2015 SHARA HUGHES’ on the reverse oil, acrylic and vinyl on canvas 122.2 x 101.5 cm. (48 1/8 x 39 7/8 in.) Executed in 2015. Provenance Marlborough Contemporary Gallery, New York Phillips, Hong Kong, 26 November 2017, Lot 1 Acquired at the above sale by the present owner
莎拉．休斯 《仙人掌》 油彩 壓克力 乙烯基塗料 畫布 2015年作 款識:《TWO PRICKS》2015 SHARA HUGHES (畫背) 來源 紐約，馬樂伯當代藝術畫廊 香港，富藝斯，2017年11月26日，拍品編號1 現藏者購自上述拍賣
HK$ 300,000-500,000 US$ 38,500-64,100
111. Izumi Kato
b. 1969
Untitled signed and dated ‘2008 KATO [in English and Kanji]’ on the reverse oil on canvas 99.8 x 80.1 cm. (39 1/4 x 31 1/ 2 in.) Painted in 2008. Provenance Michael Ku Gallery, Taipei Acquired from the above by the present owner Exhibited Taipei, Michael Ku Gallery, LONG SEASON, 21 February - 26 April 2009
加藤泉 《無題》 油彩 畫布 2008年作 款識: 2008 KATO 泉 (畫背) 來源 台北， 谷公館 現藏者購自上述來源 展覽 台北，谷公館， 〈LONG SEASON 日本當代藝術聯展〉， 2009年2月21日 - 4月26日
HK$ 200,000-300,000 US$ 25,600-38,500
‘I try to paint pictures that only I can paint. I paint people because I feel particularly motivated by human subjects.’ Izumi Kato
Searching for another world within his paintings, Izumi Kato inexhaustibly turns to human subjects for his source of inspiration, a world that contains a fction that is as powerful as reality. Kato perfectly captures this dynamic energy in Untitled, creating a captivating realm that lies in the depth of human unconsciousness. A family of three human fgures, a man, a woman and a child, resides in this new world that Kato creates in Untitled, with bloated oval heads, two big, fathomless eyes and a crudely fgured nose and mouth. These fgures are devoid of superfcial details such as facial expressions, maintaining a sense of anonymity that does not call to mind any specifc person, yet what remains allure whirls of power. Rooted to the earth with an abundance of minerals, the tree trunk extends into full branches that weave the three fgures together, representing a family lineage. Like a tree, a family is born, fourishes and branches out. Through the ‘family tree’ motif, Kato builds a psychological bridge between primitivism of nature and the true face of basic human life, moving the viewers and stimulating our imagination to consider the true essence of our existence as an evolutionary process that does not diferentiate from the earth. There is a magical intensity in Untitled through the eerie colour tones that Kato deploys to deepen his painting. He frst creates expansive felds of colour in the background with rubber spatulas, and for the remaining space of the canvas, he directly applies paint with his hands and fngers while wearing vinyl gloves. Trusting and using his body as a painting tool, his strokes are not intentional or pre-meditated, but rather an instinctive premonition. With a unique new form of expression, Kato is undoubtedly breaking new ground in the contemporary art world, continuously garnering critical attention internationally.
加藤泉在他的畫作中找尋另一個世界，不斷以人物題材作為 他的靈感來源，那個世界雖是虛構的，但與現實一樣強大。 加藤泉在作品《無題》中完好捕捉到這種動態力量，呈現 人類無意識深處的迷人之境。畫中一組三人，一男一女還 有一個小孩，出現在加藤泉在 《無題》創造的新世界。膨脹的 橢圓形腦袋，一雙碩大深邃的眼睛，鼻子和嘴巴造型粗糙。 這些人物都被捨去了面部表情等表面細節，保持它們的匿名 性質，不指向特定人物，但卻能煽起一連串的力量。樹幹 扎根在充滿礦物質的大地，長出樹枝，連接三個人物，代表 家族的脈絡。家庭就像樹木一樣誕生、興旺、開枝散葉。 通過「家譜」主題，加藤泉為自然的原始主義和基本人類 生活的真實面建立起一座精神橋樑，帶動觀者也激發我們 的想像力，其實我們存在的真實意義與大地的進化過程並 無不同。 《無題》的奇異色調透露出一種神奇的強度，令畫作更為 深刻。藝術家先以橡膠抹刀在背景畫上廣闊的色域，而在 畫面其他部分則直接戴人造樹脂手套，以手和手指塗抹。 加藤泉信任並使用自己的身體作為繪畫工具，筆畫不是刻意 或提前編排的，而是來自一種本能的徵兆。藝術家的表達 手法新穎而獨特，無疑為全球的當代藝術界打開新的一章， 繼續在國際上獲得藝評關注。
112. Finn Juhl
1912-1989
Pair of easy chairs, model no. FJ 53 Bangkok teak, fabric, brass Each: 74.9 x 72 x 75.3 cm. (29 1/ 2 x 28 3/8 x 29 5/8 in.) Designed 1953, produced 1950s. Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Underside of each branded and impressed CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK/ DESIGN FINN JUHL. Provenance Private Collection, Copenhagen Literature Erik Wørts, ‘Den Syvogtyvende’, Dansk Kunsthaandværk, no. 11, November 1953, p. 181 Esbjørn Hiort, Modern Danish Furniture, New York, 1956, p. 62 Niels Vodder Furniture, Copenhagen, 1959, p. 12 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 271-72, 311 Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 58-59 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 76-79, 139 Noritsugu Oda, Danish Chairs, San Francisco, 1999, p. 98 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 101, 103 Anne-Louise Sommer, Watercolors by Finn Juhl, Berlin, 2016, pp. 44-45
The present model was frst exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 25 September-11 October 1953, Stand 3.
HK$ 150,000-250,000 US$ 19,200-32,100
芬·祖爾 《扶手椅一對 型號 FJ 53》 曼谷柚木 布 銅 此作品於1953年設計，並於1950年代由丹麥哥本哈根 木匠名師尼爾斯．弗德製造。 款識：CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK/ DESIGN FINN JUHL (印於底部) 來源 哥本哈根私人收藏 出版 Erik Wørts著， 《Den Syvogtyvende》， 〈Dansk Kunsthaandværk〉，第11集，1952年12月，第181頁 Esbjørn Hiort 著， 〈現代丹麥家俱〉，紐約，1956年，第62頁 〈尼爾斯．弗德家具〉，銷售圖錄，哥本哈根，1959年，第12頁 Grete Jalk 編， 〈丹麥家具藝術40年,第3集: 1947-1956年〉， 哥本哈根，1987年，第271-72、311頁 Esbjørn Hiort 著， 〈芬．祖爾：家具、建築及應用藝術〉， 哥本哈根，1990年，第58-59頁 Patricia Yamada 編， 〈芬．祖爾紀念展〉，展覽圖錄， 大阪，1990年，第76-79、139頁 Noritsugu Oda 著， 〈丹麥椅子〉，舊金山，1999年，第98頁 Per H. Hansen 著， 〈芬．祖爾與他的家宅〉，奧斯特菲爾德爾恩， 2014，第101、103頁 Anne-Louise Sommer 著， 〈芬·祖爾水彩作品〉，柏林，2016年， 第44、45頁
此型號曾於1953年9月25日至10月11日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號3。
113. Finn Juhl
1912-1989
Two-seater sofa, model no. FJ 53 Bangkok teak, fabric, brass 72.4 x 128.3 x 79.4 cm. (28 1/ 2 x 50 1/ 2 x 31 1/4 in.) Designed 1953, produced 1950s. Executed by cabinetmaker Niels Vodder, Copenhagen, Denmark. Underside branded and impressed CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK/DESIGN FINN JUHL. Provenance Private Collection, Copenhagen Literature Niels Vodder: Møbler, Furniture, Möbel, Copenhagen, 1959, p. 13 Illums Bolighus, Center of Modern Design, Copenhagen, 1961, n.p. Noritsugu Oda, Danish Chairs, San Francisco, 1999, p. 98
HK$ 120,000-220,000 US$ 15,400-28,200
芬·祖爾 《沙發 型號FJ 53》 曼谷柚木 布料 銅 此作品於1953年設計，並於1950年代由丹麥哥本哈根木 匠名師尼爾斯·弗德製造。 款識：CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK/DESIGN FINN JUHL (印於底部) 來源 哥本哈根私人收藏 出版 〈尼爾斯·弗德家具〉，哥本哈根，1959年，第13頁 〈波利弗斯，現代設計中心〉，哥本哈根，1961年，無頁數 Noritsugu Oda 著， 〈丹麥椅子〉，舊金山，1999年，第98頁
114. Jonas Wood
b. 1977
Untitled signed and dated ‘JBRW 2010’ on the reverse ink and coloured pencil on paper 43.2 x 27.9 cm. (17 x 11 in.) Executed in 2010. Provenance Private Collection, Connecticut (acquired directly from the artist) Acquired from the above by the present owner
HK$ 150,000-200,000 US$ 19,200-25,600
喬納斯．伍德 《無題》 彩墨 彩色鉛筆 紙本 2010年作 款識: JBRW 2010 (畫背) 來源 康涅狄格私人收藏 (直接購自藝術家本人) 現藏者購自上述來源
115. Tomoo Gokita
b. 1969
Kookie Limbo signed, titled and dated ‘“KOOKIE LIMBO” Tomoo Gokita 2012’ on the reverse acrylic gouache on linen 97.2 x 139.2 cm. (38 1/4 x 54 3/4 in.) Executed in 2012. Provenance Bill Brady Gallery, Kansas City Acquired from the above by the present owner
五木田智央 《奇幻邊境》 壓克力 水粉 畫布 2012年作 款識： 《KOOKIE LIMBO》Tomoo Gokita 2012 (畫背) 來源 堪薩斯城，Bill Brady 畫廊 現藏者購自上述來源
HK$ 450,000-650,000 US$ 57,700-83,300
‘Mr. Gokita's vocabulary barrels across illustration, abstraction, children's drawing, calligraphy and sign-painting, with a perfect control, velvety surfaces and tonal range that makes black-and-white feel like living color.’ Roberta Smith
116. Joyce Pensato
1941-2019
Donald signed, titled and dated ‘“Donald” Joyce Pensato 1997’ on the stretcher enamel on linen 229.4 x 183 cm. (90 3/8 x 72 in.) Executed in 1997. Provenance Friedrich Petzel Gallery, New York Acquired from the above by the present owner in October 2007 Exhibited Los Angeles, Santa Monica Museum of Art, Joyce Pensato: I Killed Kenny, 1 June - 28 September 2013
喬伊斯·佩扎羅 《唐老鴨》 瓷漆 畫布 1997年作 款識:《Donald》Joyce Pensato 1997（畫框） 來源 紐約，Friedrich Petzel 畫廊 現藏者於2007年10月購自上述來源 展覽 洛杉磯，聖塔莫尼卡藝術博物館， 〈喬伊斯·佩扎羅：我殺了肯尼〉，2013年6月1日-9月28日
HK$ 450,000-550,000 US$ 57,700-70,500
Simultaneously haunting and seductive, post-punk artist Joyce Pensato’s Donald exudes an air of coolness that is far from subtle. With unruly, exuberant brushwork, the famous Disney character is reimagined in ominous black enamel against a stark white background. A seemingly aggressive technique of rapid splattering, bold linear gestures and visceral scraping results in an in-your-face assault on the senses. A compelling example of the eerie reinterpretations of pop culture icons that became hallmarks of Pensato’s practice, Donald confronts the viewer, glowering over them with blank cartoon eyes and stripped of any comedic identity. As embodied in the present lot, Pensato’s unique style derived from her manic enamel-fecked universe and subversive appropriation of American entertainment culture. As a student of the New York Studio School, where she was mentored by Abstract Expressionist Joan Mitchell and shared a studio with lifelong friend and supporter Christopher Wool (who convinced her to switch from oil to enamel), Pensato set herself apart from her peers. In New York’s streets and thrif stores, she found a multitude of pop culture artefacts, including toys, masks and fgurines of cartoon heroes. Infuenced by her growing collection, Pensato began to release her pop culture characters onto canvas, thus changing the course of her art career. Now widely collected, Pensato’s work has been exhibited extensively in America since the 1990s and is held in the collections of key institutions including the Centre Pompidou in Paris, the Museum of Modern Art among many others. Pensato passed away on June 13, 2019, at the age of 78.
困惑且誘人….後龐克藝術家喬伊斯·佩扎羅的作品 《唐老鴨》令人一見難忘，散發著藏不住的酷。其筆法肆意 不羈，著名的迪士尼角色以陰鬱的黑色瓷漆勾勒而再現， 背景是光禿禿的一片白色。其畫法看似頗具侵略性，迅速 地飛濺、鮮明的線性動態和隨性的擦抹都是對感官直接了 當的衝擊。此作是佩扎羅對流行文化標誌性角色的怪異 重現，這也是其藝術創作的標誌。 《唐老鴨》直接面對 觀者，空洞的卡通眼睛怒視前方，剝去原本的滑稽本色。 此作彰顯了佩扎羅的獨特畫風，近乎躁狂的瓷漆斑駁世界 中滿是對美國娛樂文化的破壞性借鑒。作為紐約 Studio School 的學生，當時她曾受教於抽象表現主義藝術家瓊· 米切爾，也與一輩子的好友克里斯托弗·烏爾（是他說服 她從油彩換成瓷漆）共享工作室，佩扎羅在一眾同輩藝術 家中脫穎而出。在紐約的街頭和平價商店，她找到一系列 流行文化製品，包括玩具、面具,和卡通人物玩偶。佩扎羅 的收藏越來越多，佩扎羅開始把流行文化角色呈現畫布 之上，從此改變了她的藝術事業。 佩扎羅的作品現在被納入多個收藏，自1990年代開始在 美國廣泛展出，包括巴黎龐比度中心、紐約現代藝術博 物館在內的重要機構都收藏了其作品。佩扎羅於2019年 6月13日離世，享年78歲。
‘She was (an) Expressionist, painting without colour.’ Clayton Press
117. Eddie Martinez
b. 1977
Untitled signed, titled and dated ‘MARTINEZ 2015 “UNTITLED”’ on the reverse; further signed and dated ‘E. MARTINEZ 2015’ on the stretcher oil, enamel, acrylic, spray paint on linen 101.5 x 76.6 cm. (39 7/8 x 30 1/8 in.) Executed in 2015. Provenance Mitchell-Innes & Nash, New York Acquired from the above by the present owner
艾迪．馬汀尼茲 《無題》 油彩 瓷漆 壓克力 噴漆 畫布 2015年作 款識：MARTINEZ 2015《UNTITLED》(畫背)； E. MARTINEZ 2015 (簽於內框) 來源 紐約，Mitchell-Innes & Nash 畫廊 現藏者購自上述來源
HK$ 380,000-450,000 US$ 48,700-57,700
‘I don’t know color theory, and I’m not concerned if I’m doing it right or if I’m doing it wrong. It’s just the way I do it.’ Eddie Martinez
Renowned for exploring both fguration and abstraction in his practice, Brooklyn-based artist Eddie Martinez has established a reputation for his bold and dynamic works. Executed in 2015, the present lot is a captivating example of Martinez’s mature style with abstraction. Martinez has been critically lauded for his aggressive working methods, in which he smears and paints colour in a fast, confdent manner. Although the sense of urgency has not been lost in his more recent works, as suggested by the coarse brushwork evident in the present lot, his maturing practice resonates with his audience in a more open, fuid manner. Composed of sharp strokes that are gestural but also impulsive, the present lot is full of energy. In a deceptively simple composition, amorphous blocks of exuberant colour dance around monochromatic negative space. The wide variety of materials employed to create the present lot highlight upon Martinez’s innovative vision and technical skill. The artist’s commanding manipulation of line and colour is present in his ability to transform a canvas by mixing the traditional medium of oil paint with more contemporary methods. Incorporating a range of oil, enamel, acrylic and spray paint in vividly contrasting combinations, Martinez leads his viewer’s eyes around the canvas, energizing and engaging the mind as a sense of narrative appears. The unique edge that has steadily developed throughout Martinez’s career refects both his adolescent years creating grafti, as well as his varied infuences. Simultaneously referencing popular culture alongside his own personal experiences, Martinez’s art draws inspiration from Pablo Picasso, Phillip Guston, Robert Rauschenberg and Jean-Michel Basquiat – the latter of whom Martinez’s arresting canvases are ofen compared to. In the past decade, Martinez has built an irrefutable international recognition. In the past three years, Martinez has presented solo exhibitions at prominent museums and institutions, including the Bronx Museum, New York (2018), the Drawing Center, New York (2017) and the Davis Museum, Wellesley (2017). Alongside fnding a place in numerous private collections, Martinez’s work forms part of notable public collections such as the Saatchi Collection in London and the Morgan Library in New York.
布魯克林藝術家艾迪·馬汀尼茲的創作既有具象元素， 亦不忘探索抽象，作品鮮明大膽，生氣勃勃，令人印象 深刻。本次上拍作品創作於2015年，是馬汀尼茲成熟抽象 風格的典範之作。藝術家迅速自信地作畫、塗抹，勁力 十足且富侵略性的創作手法在藝術界備受好評。近年作品 中並無捨棄其急迫感，如此作中的粗獷筆觸可見一斑， 但其成熟的創作手法往往給予觀者更開放流暢的共鳴。 筆觸鮮明，富有動感和爆發性的張力，畫面滿盈能量。 構圖看似簡單，豐富的顏色呈不定形塊狀，在單色調背景 中舞躍。此作中多元化的媒材既突顯其創新的眼光，亦見 證了他精湛的技藝。藝術家對「線」與「色」的純熟掌控使 他得以自如地混合傳統油彩與現代化藝術手法，為畫面帶 來截然不同的感覺。馬汀尼茲融匯不同的油彩、瓷漆、 壓克力彩和噴漆，呈現對比強烈的效果，帶領觀者的目光 在畫面遊走，在作品敍事出現時令思想灌注並充滿力量。 馬汀尼茲藝術創作越發顯著的獨有特性中，不乏其 青少年代塗鴉創作等經驗影響，既有對流行文化的借鑒， 也有他個人的經歷。而藝術方面的影響來自巴布羅· 畢加索、菲利普·加斯頓、羅伯特·勞森伯格、尚·米謝· 巴斯基亞等人。藝評經常將其畫作與巴斯基亞的作品 相提並論。 過去十年間，馬汀尼茲建立起無可置疑的國際知名度， 在過去三年，他曾在多個重要博物館和藝術機構舉行 個展，當中包括紐約布朗克斯博物館（2018年）、紐約 Drawing Center（2017年）和衛斯理學院的戴維斯博物館 （2017年）。另外，其作品不僅被收入許多私人收藏，更被 納入倫敦蕯奇收藏和紐約摩根圖書館等知名公眾收藏。
118. Eddie Martinez
b. 1977
Up in Arms #2 signed with the artist’s initials and dated ‘EM.09’ lower lef acrylic, oil and spray paint on canvas 153 x 183 cm. (60 1/4 x 72 in.) Executed in 2009. Provenance ZieherSmith, New York Private Collection Phillips, New York, 17 May 2013, Lot 258 Acquired at the above sale by the present owner
艾迪．馬汀尼茲 《激烈反抗2號》 壓克力 油彩 噴漆 畫布 2009年作 款識：EM.09 (左下) 來源 紐約，ZieherSmith 畫廊 私人收藏 紐約，富藝斯，2013年5月17日，拍品編號258 現藏者購自上述拍賣
HK$ 600,000-800,000 US$ 76,900-103,000
Up in Arms #2 is a captivating example of how American visual contemporary artist, Eddie Martinez uniquely fuses elements of pure abstraction with fguration on his lively canvases. Resembling the erratic spontaneity of a doodle, Martinez’s strong painterly strokes actually reveal a sophisticated approach. Employing a combination of acrylic, oil and spray paint, Up in Arms #2 presents the viewer with abstract blocks of colour that co-exist alongside more defned forms, including a large red droplet, a spotted green tree, and a yellow chair outlined in red. A breasted bird-like fgure appears to orchestrate the action from the centre of the canvas, with outstretched wings that allude to the work’s title. The dynamic imagery is contained within a rectangular frame, juxtaposing the negative space that surrounds the frame’s perimeter. Consequently, the eye is immediately drawn towards the exuberant colours and energetic brushwork. With so much activity, viewers may not know where to look - yet the work’s highly engaging nature stops them from wanting to look away. As seen in the present lot, Martinez’s practice pushes the boundaries of what constitutes painting as he explores characteristics that nod to both the cultural appeal of street art, as well as the dialect of art history. Examining the layers of a Martinez painting reveal his sources of inspiration, ranging from cave paintings to Abstract Expressionism and Surrealism, to grafti and popular urban culture.
Martinez’s style also draws from his deep understanding of the traditions of classical painting techniques, which he transforms in his own work through his personal iconography. Executed in 2009, Up in Arms #2 draws particularly on Martinez’s admiration for the “speed and abandon of control” present in the work of CoBrA artists Asger Jorn and Karel Appel, whose practices he discovered that same year (the artist quoted in Bill Powers, “‘I Needed to Figure Out Something I Could Make Myself’: A Talk With Eddie Martinez”, Artnews, 25 January 2016, online). Working rapidly, Martinez frst creates spray paint sketches, before turning to acrylic and oil paint traditional media to apply line and colour with a variety of brush-sizes and motions. The speed with which the artist works is evident in his brushwork, as the coarseness of Martinez’s gestural lines suggests an aggressive application technique. Martinez has even likened his artistic methods to that of a boxing match, in which the opponent is his canvas and the frst move is stepping forward to make contact. Afer contact has occurred, he will then step back to regroup before he connects again. Most prominent in the present lot’s vibrantly contrasting smears, the result of Martinez’s dynamic approach are compositions that appear simultaneously accidental, whilst also deliberately confdent. Critically lauded for his “exceptional gifs as a painter and drafsman, which he exuberantly combines” (Roberta Smith, The New York Times, 11 February 2010), Martinez’s practice is unapologetically bold and uniquely his own.
《激烈反抗2號》是美國當代視覺藝術家艾迪·馬汀尼茲的 精彩傑作，藝術家的鮮明畫幅中抽象與具象兼容，風格 獨樹一幟。畫面看似毫無規則地塗鴉，但其充滿繪畫感的 筆觸實則複雜精妙。 《激烈反抗2號》融合壓克力彩、油彩 和噴漆，抽象的色塊呈現觀者眼前，當中又不乏較為具象 的造型，包括一個巨大的紅色水滴、畫了點點的綠樹 和紅色邊的黃色座椅。一隻胸脯豐滿、類似鳥的生物主導 了畫面中央的動態，翅膀張開，呼應作品題目。這幅富有 動力的畫面處於長方形框架之中，與框架外的空間形成對 比。故此，觀者的目光直接被鮮艷的色彩和充滿力道的 筆觸所吸引，畫面事物極為豐富，觀者一時眼花繚亂， 但畫面強烈的獨特魅力令人矚目不止。 此作彰顯了馬汀尼茲的藝術作風，他不斷嘗試突破繪畫的 定義，探討同時體現街頭藝術文化和傳統藝術史語言的 藝術形式。細讀馬汀尼茲作品中的不同層次，可見其靈感 來源之多元迥異，包括洞穴繪畫、抽象表現主義、超現實 主義、塗鴉和都市流行文化。馬汀尼茲的藝術也不乏 來自他對古典油畫技巧的深入掌握和理解，融會貫通， 在作品中變換為屬於自己個人的標誌。
《激烈反抗2號》作於2009年，突顯了馬丁尼茲對「眼鏡蛇 藝術群」藝術家阿斯葛·瓊恩和卡·阿貝爾作品中的「速度 和失控」的欣賞與借鑒，他於同年看到二人的藝術作品。 （藝術家，錄於比爾·鮑爾斯， 〈我需要弄清楚自我可以控制 的事物: 與艾迪·馬汀尼茲對話〉， 《藝術新聞》，2016年 1月25日，截自網路）馬汀尼茲先以噴漆打稿，再以傳統媒 材如壓克力彩和油彩勾勒線條和上色，所用之筆刷尺寸和 作畫動態變化多端。藝術家創作時的速度於其筆觸最為 明顯，動態張揚的粗獷線條可見其進取的畫風。馬汀尼茲 還曾把自己的藝術手法比作拳擊賽，畫布就是他的對手， 第一步是上前接觸，接觸過後要退後重新思索整裝才能再 次接觸。此作中最突出的是那對比鮮明強烈的塗抺痕跡， 馬汀尼茲的多元化創作手法帶來的畫面看起來像是意外， 又有著深思熟慮的自信。藝評最為讚賞他「精彩地結合了 作為畫家和製圖員的無比天賦」。 （羅伯塔·史密斯， 《紐約 時報》 ，2010年2月11日）。馬汀尼茲的藝術創作無疑是 大膽而獨特的。
Property from a Private Collection, London
119. George Nakashima
1905-1990
Set of four ‘Conoid’ dining chairs American black walnut, hickory Tallest: 90.2 x 50.5 x 56.6 cm. (35 1/ 2 x 19 7/8 x 22 1/4 in.) Produced 1976. Together with a copy of the original order cards, invoices, correspondence, drawing signed by George Nakashima and certifcate of authenticity from Mira Nakashima. Underside of three signed in black marker KENT and one Showroom. Provenance Leticia Kent, New York, acquired directly from the artist, 1976 Thence by descent to the present owner Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, pp. 32, 38, 108, 143, 149, 152-53, 167, 169, 177, 179, 183-84, 187, 190-91 Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craf Museum, New York, 1989, p. 110 Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 173–75, 195, 212-13, 215-16, 223, 226-27, 248
倫敦私人收藏
中島勝寿 《錐形餐椅4張》 美國黑胡桃 山胡桃木 此作品於1976年製造，並附由中島勝寿所簽署之原始訂單卡、單據、函件、 草稿及由 Mira Nakashima 所發之保證書。 款識：KENT、Showroom (於其中三張座椅) 來源 紐約，Leticia Kent 收藏 (1976年直接購自藝術家本人) 現由上述藏家家屬繼承作品 出版 中島勝寿著， 〈樹的靈魂:木工師的思考〉，東京，1981年，第32、38、 108、143、149、152-53、167、169、177、179、183-84、187、190-91頁 Derek E. Ostergard 著， 〈中島勝寿著:全循環〉，展覽圖錄， 美國工藝博物館，紐約，1989年，第110頁 Mira Nakashima 著， 〈自然、形態、靈魂: 中島勝寿的一生〉，紐約， 2003年，第173–75、195、212-13、215-16、223、226-27、248頁
HK$ 40,000-60,000 US$ 5,100-7,700
Property from a Private Collection, London
∑
120. George Nakashima
1905-1990
‘Conoid’ dining table American black walnut, three East Indian rosewood butterfy keys 69.5 x 155 x 99.5 cm. (27 3/8 x 61 x 39 1/8 in.) Produced 1967. Together with a copy of the original order card, invoice, correspondence, drawing signed by George Nakashima and certifcate of authenticity from Mira Nakashima. Underside signed in marker KENT. Provenance Leticia Kent, New York, acquired directly from the artist, 1968 Thence by descent to the present owner Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, pp. 184-85 for similar examples Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 147, 174, 223 for similar examples
HK$ 50,000-70,000 US$ 6,400-9,000
倫敦私人收藏
中島勝寿 《錐形餐桌》 美國黑胡桃 三處印度紅木蝴蝶卡榫 此作品於1967年製造，並附由中島勝寿所簽署之原始訂單卡、單據、函件、 草稿及由 Mira Nakashima 所發之保證書。 款識：KENT (底部)
來源 紐約，Leticia Kent 收藏 (1968年直接購自藝術家本人) 現由上述藏家家屬繼承作品 出版 中島勝寿著， 〈樹的靈魂: 木工師的思考〉 ，東京，1981年， 第184-85 (同系列作品) Mira Nakashima 著， 〈自然、形態、靈魂: 中島勝寿的一生〉， 紐約，2003年，第147、174、223頁 (同系列作品)
121. Takashi Murakami
b. 1962
HOLLOW signed, titled and dated ‘TAKASHI 2015 “Hollow”’ on the overlap acrylic on canvas 141 x 120 cm. (55 1/ 2 x 47 1/4 in.) Painted in 2015. Provenance Gagosian Gallery, London Acquired from the above by the present owner
村上隆 《HOLLOW》 壓克力 畫布 2015年作 款識: TAKASHI 2015 《Hollow》(畫布邊緣) 來源 倫敦，高古軒畫廊 現藏者購自上述來源
© 2015 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved.
HK$ 1,000,000-1,500,000 US$ 128,000-192,000
Property from an Important Private Hong Kong Collection
122. Takashi Murakami
b. 1962
KAIKAI signed and dated “TAKASHI 00” on the reverse acrylic on canvas mounted to panel 40 x 40 cm. (15 3/4 x 15 3/4 in.) Executed in 2000. Provenance Tomio Koyama Gallery, Tokyo Private Collection, Switzerland Christie’s, London, 25 June 2004, Lot 282 Private Collection, New York (acquired at the above sale) Sotheby’s, London, 26 June 2009, Lot 271 Private Collection, New York (acquired at the above sale) Sotheby’s, New York, 12 November 2014, Lot 569 Acquired at the above sale by the present owner
重要香港私人收藏
村上隆 《KAIKAI》 壓克力 畫布 裱於木板 2000年作 款識：TAKASHI 00 (畫背) 來源 東京，小山登美夫畫廊 瑞士私人收藏 倫敦，佳士得，2004年6月25日，拍品編號282 紐約私人收藏 (購自上述拍賣) 倫敦，蘇富比，2009年6月26日，拍品編號271 紐約私人收藏 (購自上述拍賣) 紐約，蘇富比，2014年11月12日，拍品編號569 現藏者購自上述拍賣
‘I found the expression kikikaikai had a very attractive sound I baptized these two characters Kaikai and Kiki. With these three characters Oval, Kaikai and Kiki - I wanted, I think, to create my own “gods of art”.’ Takashi Murakami
© 2000 Takashi Murakami/Kaikai Kiki Co. Ltd. All Rights Reserved.
HK$ 650,000-850,000 US$ 83,300-109,000
123. Yoshitomo Nara
b. 1959
Untitled coloured pencil on envelope 37.8 x 28.6 cm. (14 7/8 x 11 1/4 in.) Executed in 2005. Provenance Marianne Boesky Gallery, New York Acquired from the above by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-2005-018, p. 229 (illustrated) Hideki Yasuda, This is a time of...S.M.L., Tokyo, 2004, n.p. (illustrated)
奈良美智 《無題》 彩色鉛筆 信封 2005年作 來源 紐約，Marianne Boesky 畫廊 現藏者購自上述來源 出版 宮村周子與鈴木真子編， 〈奈良美智作品全集，第2集：紙本 1984-2010〉，東京，2011年， 作品全集編號 D-2005-018，第229頁 (圖版) 安田英樹著， 〈This is a time of...S.M.L.〉，東京，2004年， 無頁數 (圖版)
© Yoshitomo Nara
HK$ 650,000-850,000 US$ 83,300-109,000
© Yoshitomo Nara
124. Yoshitomo Nara
b. 1959
PEACE ceramic 7.1 x 5.8 x 6.7 cm. (2 3/4 x 2 1/4 x 2 5/8 in.) Executed in 2016. Provenance Blum & Poe, Los Angeles Acquired from the above by the present owner
HK$ 80,000-120,000 US$ 10,300-15,400
奈良美智 《和平》 陶瓷 2016年作 來源 洛杉磯, Blum & Poe 畫廊 現藏者購自上述來源
© Yoshitomo Nara
125. Yoshitomo Nara
b. 1959
The Little Ice Bear signed, dated and numbered ‘Nara [in Japanese] ‘97 19/20’ on the underside acrylic and lacquer on FRP 5.2 x 3.4 x 3.8 cm. (2 x 1 3/8 x 1 1/ 2 in.) Executed in 1997, this work is number 19 from an edition of 20. Provenance Tomio Koyama Gallery, Tokyo Private Collection, Los Angeles Private Collection, Hong Kong Acquired from the above by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works Volume 1: Paintings, Sculptures, Editions, Photographs 1984-2010, Tokyo, 2011, no. S-1997-019, p. 266 (illustrated)
HK$ 70,000-90,000 US$ 10,300-15,400
奈良美智 《小冰熊》 壓克力 漆 玻璃纖維 1997年作，共有20版，此為第19版。 款識: 奈良（日文） ‘97 19/20 (底部) 來源 東京，小山登美夫畫廊 洛杉磯私人收藏 香港私人收藏 現藏者購自上述來源 出版 宮村周子與鈴木真子編， 〈奈良美智作品全集 1984-2010， 第1集：油畫、雕塑、限量版、照片作品〉，東京，2011年， 作品全集編號 S-1997-019，第266頁 (圖版)
126. Yoshitomo Nara
b. 1959
Untitled (Headache) acrylic and coloured pencil on paper 41.6 x 35.4 cm. (16 3/8 x 13 7/8 in.) Executed in 1998. Provenance Tomio Koyama Gallery, Tokyo Acquired from the above by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-1998-001, p. 118 (illustrated) Bijutsu Shuppan-Sha, ed., Yoshimoto Nara: The Complete BT Archives 1991-2013, Tokyo, 2013, p. 83 (illustrated)
奈良美智 《無題 (頭痛)》 壓克力 彩色鉛筆 紙本 1998年作 來源 東京，小山登美夫畫廊 現藏者購自上述來源 出版 宮村周子與鈴木真子編， 〈奈良美智作品全集 1984-2010，第2集：紙本〉， 東京，2011年，作品全集編號 D-1998-001，第118頁 (圖版) 美術出版社編， 〈奈良美智:美術手帖全記事 1991-2013 〉，東京，2013年， 第83頁 (圖版)
© Yoshitomo Nara
HK$ 1,800,000-2,500,000 US$ 231,000-321,000
127. Yoshitomo Nara and Hiroshi Sugito
b. 1959 and b. 1970
Untitled signed and dated ‘Nara [in Japanese] 2004’ on the overlap acrylic on canvas 20 x 18 cm. (7 7/8 x 7 1/8 in.) Painted in 2004. Provenance Galerie Michael Zink, Munich Acquired from the above by the present owner in 2004 Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works Volume 1: Paintings, Sculptures, Editions, Photographs 1984-2010, Tokyo, 2011, no. PC-2004-021, p. 226 (illustrated)
奈良美智 與 杉戶洋 《無題》 壓克力 畫布 2004年作 款識：奈良（日文）2004 (畫布邊緣) 來源 慕尼黑，Michael Zink 畫廊 現藏者於2004年購自上述來源 出版 宮村周子與鈴木真子編， 〈奈良美智作品全集 1984-2010，第1集：油畫、雕塑、限量版、照片作品〉， 東京，2011年，作品全集編號PC-2004-021，第226頁 (圖版)
© Yoshitomo Nara
HK$ 500,000-700,000 US$ 64,100-89,700
© Yoshitomo Nara
128. Yoshitomo Nara
b. 1959
Untitled ballpoint pen on paper 29.5 x 20.8 cm. (11 5/8 x 8 1/4 in.) Executed in 2016. Provenance PACE, New York Acquired from the above by the present owner Exhibited New York, PACE, Yoshitomo Nara: Thinker, 31 March - 29 April 2017
HK$ 200,000-300,000 US$ 25,600-38,500
奈良美智 《無題》 圓珠筆 紙本 2016年作 來源 紐約, 佩斯畫廊 現藏者購自上述來源 展覽 紐約，佩斯畫廊， 〈奈良美智：思想家〉，2017年3月31日 - 4月29日
© Yoshitomo Nara
129. Yoshitomo Nara
b. 1959
Untitled signed and dated ‘Nara [in Japanese] ‘95’ upper lef coloured pencil and pen on paper 11.3 x 9.3 cm. (4 1/ 2 x 3 5/8 in.) Executed in 1997. Provenance Hakutosha Gallery, Nagoya Acquired from the above by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-1997-181, p. 114 (illustrated)
HK$ 120,000-180,000 US$ 15,400-23,100
奈良美智 《無題》 彩色鉛筆 鋼筆 紙本 1997年作 款識：奈良（日文）‛95 (左上) 來源 名古屋，白土舎畫廊 現藏者購自上述來源 出版 宮村周子與鈴木真子編， 〈奈良美智作品全集 1984-2010, 第2集：紙本〉， 東京，2011年，作品全集編號 D-1997-181， 第114頁 (圖版)
© Yoshitomo Nara
130. Yoshitomo Nara
b. 1959
Es ist egal ob Rock einige Power hat (It does not matter if Rock has any power) signed and dated ‘Nara [in Japanese] ‘98’ lower lef marker pen on paper 22.8 x 14.9 cm. (8 7/8 x 5 7/8 in.) Executed in 1998. Provenance Tomio Koyama Gallery, Tokyo Private Collection, Japan Christie’s, Hong Kong, 27 May 2018, Lot 103 Acquired at the above sale by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-1998-215, p. 134 (illustrated) HK$ 450,000-550,000 US$ 57,700-70,500
奈良美智 《搖滾是否有力量並不重要》 簽字筆 紙本 1998年作 款識：奈良（日文） ‘98 (左下) 來源 東京，小山登美夫畫廊 日本私人收藏 香港，佳士得，2018年5月27日，拍品編號103 現藏者購自上述拍賣 出版 宮村周子與鈴木真子編， 〈奈良美智作品全集，第2集：紙本 1984-2010〉， 東京，2011年，作品全集編號 D-1998-215，第134頁 (圖版)
© Yoshitomo Nara
131. Yoshitomo Nara
b. 1959
Untitled signed and dated ‘08 Nara [in Japanese]’ on the reverse coloured pencil on envelope 23 x 12.1 cm. (9 x 4 3/4 in.) Executed in 2008. Provenance Blum & Poe, Los Angeles Private Collection, Japan Christie’s, Hong Kong, 27 May 2018, Lot 102 Acquired at the above sale by the present owner Literature Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works, Volume 2: Works on Paper 1984-2010, Tokyo, 2011, no. D-2008-136, p. 285 (illustrated)
HK$ 480,000-600,000 US$ 61,500-76,900
奈良美智 《無題》 彩色鉛筆 信封 2008年作 款識：08 Nara (日文) (畫背) 來源 洛杉磯，Blum & Poe 畫廊 日本私人收藏 香港，佳士得，2018年5月27日，拍品編號102 現藏者購自上述拍賣 出版 宮村周子與鈴木真子編， 〈奈良美智作品全集 1984-2010，第2集：紙本〉， 東京，2011年，作品全集編號 D-2008-136， 第285頁 (圖版)
Property from an Important Private European Collection
132. Aya Takano
b. 1976
In the 30th Year of the Showa, the Day the Fire Flowers Rose signed and dated ‘2005 TAKANO AYA’ on the reverse acrylic on canvas 181.6 x 227 cm. (71 1/ 2 x 89 3/8 in.) Painted in 2005. Provenance Galerie Perrotin, Paris Acquired from the above by the present owner
重要歐洲私人收藏
高野綾 《昭和三十年，煙花盛開的那一天》 壓克力 畫布 2005年作 款識：2005 TAKANO AYA (畫背) 來源 巴黎，貝浩登畫廊 現藏者購自上述來源
© 2005 Aya Takano/Kaikai Kiki Co. Ltd. All Rights Reserved.
Property from an Important Private European Collection 重要歐洲私人收藏
HK$ 200,000-300,000 US$ 25,600-38,500
133. Hiroshi Sugito
b. 1970
Victory acrylic, pigments, paper on canvas 132 x 150 cm. (51 7/8 x 59 in.) Executed in 2000. Provenance Farrari Arte Contemporanea, Milan Acquired from the above by the present owner
HK$ 22,000-32,000 US$ 2,800-4,100
重要歐洲私人收藏
杉戶洋 《勝利》 壓克力 顏料 紙本 裱於畫布 2000年作 來源 米蘭，Farrari Arte Contemporanea 畫廊 現藏者購自上述來源
Property from an Important Private European Collection 重要歐洲私人收藏
Property from an Important Private European Collection
Property from an Important Private European Collection
134. Tomoko Nagai
b. 1981
Snow Princess signed, titled and dated ‘“snow princess” 2010 Tomoko Nagai’ on the stretcher oil, acrylic, spray paint and glitter on canvas 227.5 x 181.8 cm. (89 5/8 x 71 5/8 in.) Executed in 2010. Provenance Tomio Koyama Gallery, Tokyo Acquired from the above by the present owner
Property from an Important Private European Collection 重要歐洲私人收藏
HK$ 30,000-50,000 US$ 3,800-6,400
重要歐洲私人收藏
長井朋子 《白雪公主》 油彩 壓克力 噴漆 閃粉 畫布 2010年作 款識： 《snow princess》2010 Tomoko Nagai (畫框) 來源 東京，小山登美夫畫廊 現藏者購自上述來源
• 135. Chinatsu Ban
b. 1973
Twin Mt. Fuji signed and dated ‘Chinatsu Ban 2004’ on the reverse acrylic on canvas 130.2 x 161.9 cm. (51 1/4 x 63 3/4 in.) Painted in 2004. Provenance Marianne Boesky Gallery, New York Acquired from the above by the present owner Literature Essen, Museum Folkwang, Rockers Island - Olbricht Collection, 5 May - 1 July 2007, p. 207 (illustrated)
HK$ 15,000-25,000 US$ 1,900-3,200 LOT OFFERED WITH NO RESERVE
重要歐洲私人收藏
坂知夏 《富士山雙胞胎》 壓克力 畫布 2004年作 款識: Chinatsu Ban 2004 (畫背) 來源 紐約，Marianne Boesky 畫廊 現藏者購自上述來源 出版 埃森，德國弗柯望博物館， 〈洛克斯島 - Olbricht 收藏〉 ， 2007年5月5日-7月1日，第207頁 (圖版)
Property from an Important Private European Collection 重要歐洲私人收藏
Property from an Important Private European Collection
Property from a Private Asian Collection
136. Mr.
b. 1969
Miniature Diary acrylic on canvas 131.4 x 194.3 cm. (51 3/4 x 76 1/ 2 in.) Painted in 2011. Provenance Lehmann Maupin Gallery, New York Acquired from the above by the present owner Literature Hideki Watanabe, Mr. ART BOOK IKITEIKU MOE MICHI YUKABA, Tokyo, 2012, p. 17 (illustrated)
亞洲私人收藏
Mr. 《微型日記》 壓克力 畫布 2011年作 來源 紐約 ，立木畫廊 現藏者購自上述來源 出版 渡邊英貴著， 〈Mr. ART BOOK IKITEIKU MOE MICHI YUKABA〉 ， 東京，2012年，第17頁 (圖版)
© 2011 Mr./Kaikai Kiki Co. Ltd. All Rights Reserved.
HK$ 1,000,000-2,000,000 US$ 128,000-256,000
∑
137. Mogens Koch
1898-1992
Pair of easy chairs and ottoman, from a private commission, Copenhagen Brazilian rosewood, leather Each chair: 77 x 72.3 x 67.5 cm. (30 3/8 x 28 1/ 2 x 26 5/8 in.) Ottoman: 47.9 x 55 x 43.5 cm. (18 7/8 x 21 5/8 x 17 1/8 in.) Designed 1936, produced 1937-1938. Executed by cabinetmaker N. C. Jensen Kjær, Copenhagen, Denmark. Together with a copy of the original purchase order card. Provenance Merchant Hans Chr. Holm, Mitcheelsgade 23, Copenhagen, commissioned from the designer, 1937-1938 Jørgen Olsen, Copenhagen, acquired from the above, 1958 Acquired from the above by the present owner, Copenhagen, 2017 Literature Torben Schmidt, ‘OM’, Mobilia, no. 153, April 1968, n.p. Frederik Sieck, Contemporary Danish Furniture Design, Copenhagen, 1990, p. 156 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 1: 1927-1936, Copenhagen, 1987, p. 253 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 231 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, p. 27
Phillips wishes to thank Mogens Koch Design I/S for their assistance cataloguing the present lot.
HK$ 60,000-80,000 US$ 7,700-10,300
穆根斯·庫奇 《椅子一對及箱式凳》 巴西黑黃檀木 皮革 此作品於1936年設計，於1937-1938年由丹麥哥本哈根木匠名師 N. C. Jensen Kjær製造；並附椅子的原始訂購卡。 來源 哥本哈根，Mitcheelsgade 23號，Hans Chr. Holm 商家 於1937-1938年設計師委托 哥本哈根，Jørgen Olsen於1958年購自上述來源 哥本哈根，現藏者於2017年購自上述來源 出版 Torben Schmidt 著， 《OM》 ， 〈Mobilia〉，圖版編號153， 1968年4月，無頁數 Frederik Sieck著， 〈當代丹麥家具設計〉，哥本哈根， 1990年，第156頁 Grete Jalk 編， 〈丹麥家具藝術40年, 第1集: 1927-1936年〉 ， 哥本哈根，1987年，第253頁 Grete Jalk 編， 〈丹麥家具藝術40年, 第2集: 1937-1946年〉 ， 哥本哈根，1987年，第231頁 Arne Karlsen 著， 〈丹麥家具設計: 二十世紀, 第2集〉 ，哥本哈根， 2007年，第27頁
富藝斯鳴謝穆根斯·庫奇設計I/S事務所協助此作品的編錄。
∑
138. Mogens Koch
1898-1992
Unique folding table, from a private commission, Copenhagen Brazilian rosewood-veneered wood, Brazilian rosewood, brass. 75.8 x 110.5 x 82.9 cm. (29 7/8 x 43 1/ 2 x 32 5/8 in.) Designed 1937, produced 1937-1938. Executed by cabinetmaker N. C. Jensen Kjær, Copenhagen, Denmark. Together with a copy of the original purchase order card. Provenance Merchant Hans Chr. Holm, Mitcheelsgade 23, Copenhagen, commissioned from the designer, 1937-1938 Jørgen Olsen, Copenhagen, acquired from the above, 1958 Acquired from the above by the present owner, Copenhagen, 2017
Phillips wishes to thank Mogens Koch Design I/S for their assistance cataloguing the present lot.
HK$ 20,000-30,000 US$ 2,600-3,800
穆根斯·庫奇 《哥本哈根私人委托獨特折疊桌》 巴西黑黃檀木飾面板 巴西黑黃檀木 銅 此作品於1937年設計，於1937-1938年由丹麥哥本哈根木匠名師 N. C. Jensen Kjær製造；並附桌子的原始訂購卡。 來源 哥本哈根，Mitcheelsgade 23號，Hans Chr. Holm 商家 於1937-1938年設計師委托 哥本哈根，Jørgen Olsen於1958年購自上述來源 哥本哈根，現藏者於2017年購自上述來源
富藝斯鳴謝穆根斯·庫奇設計I/S事務所協助此作品的編錄。
HOCA Foundation Beneft Auction 香港當代藝術基金會慈善拍賣
Phillips is delighted to auction this unique selection of works in partnership with the non-profit organisation, Hong Kong Contemporary Art (HOCA) Foundation, as part of the 20th Century & Contemporary Art & Design Hong Kong Day Sale. HOCA Foundation was launched in 2014 with the goal of promoting and raising awareness for contemporary art in the city by providing free-access, museum-quality exhibitions to the community. HOCA has presented multiple, comprehensive solo exhibitions for artists such as JR, Invader, KAWS, and most recently, Textures of Memory, the most comprehensive exhibition of the work of José Parlá in Hong Kong to date. HOCA also provides Art Education to the city’s underprivileged youth with guided tours, artist studio visits, workshops and various interactive arts activities held throughout the year. Building on the phenomenon of street art as a movement that represents a signifcant cultural turning point in the last few years, this unique section will feature 10 works generously donated by 8 established international artists, including Futura, José Parlá, Daniel Arsham and Cleon Peterson. The proceeds of this beneft auction are redirected to HOCA's future initiatives, helping the Foundation democratise art and enrich the cultural life of Hong Kong.
富藝斯很榮幸與非營利機構: 香港當代藝術基金會 （HOCA） 共同舉辦慈善拍賣，作為「二十世紀及當代藝術和設計 日拍」的一部分。 HOCA成立於2014年，宗旨在為香港推廣並提升對當代 藝術的了解和關注，並為大眾提供免費參觀的博物館級別 展覽。HOCA 至今已呈現了JR、侵略者（Invader）、 KAWS等藝術家的個人展覽。最近舉辦的〈記憶的紋理〉為 何塞·帕拉目前為止於香港最為全面性的展覽。 HOCA 也為香港貧困兒童提供各種藝術教育，包括組織 導覽、藝術家工作室參觀、工作坊等不同互動藝術活動。 街頭藝術是過去幾年一個代表文化轉捩點的現象，本次拍 賣中將呈現八位享譽國際的藝術家所捐贈的十件作品， 當中包括 Futura、何賽·帕拉、丹尼爾·阿瑟姆和克萊恩· 佩特森的作品。此一部分拍賣的收益將用於 HOCA 未來 經費，幫助基金會令藝術大眾化，同時豐富香港的文化 生活。
Textures of Memory, presented in partnership with Ben Brown Fine Arts, spanned across two venues and was curated by Dieter Buchhart. The exhibition masterfully laid out the historical context of the artist’s oeuvre with 13 representative paintings and sculptures from 2004 to 2019.
與Ben Brown Fine Arts合作的〈記憶的紋理〉展覽，橫跨 兩個覽場，由迪特爾·布哈特策劃。巧妙地展示了藝術家 創作的歷程及背景，共展出13件具代表性；於2004年 至2019年期間創作之繪畫和雕塑作品。
José Parlá – Textures of Memory, Curated by Dieter Buchhart 18 September - 11 October 2019 © Tang King Ho, Tommy
〈何賽·佩拉：記憶的紋理，迪特爾·布哈特策展〉 2019年9月18日-10月11日
KAWS: ALONG THE WAY was a major survey exhibition spanning one decade of the artist’s studio practice. Featuring works from 2008 to the present, this comprehensive solo exhibition included pieces that had never been presented in Hong Kong before. Curated thematically and chronologically, the survey showcased some of the artist’s most iconic characters such as the CHUM and COMPANION series as well as his more recent works titled YOU. 〈 KAWS： ALONG THE WAY 〉是一項橫跨藝術家工作室 十年來之創作歷程的重要審視。這次全面性的個展以 2008年至今的作品為特色，其中包括從未於香港展出過的 作品。 展覽按主題和時序為策劃主軸，展示了藝術家 最具標誌性的創作要角，例如CHUM和COMPANION系列 以及他近期的作品《YOU》。 KAWS: ALONG THE WAY, Curated by Germano Celant 25 March -14 April 2019 © Jonty Wilde
〈KAWS: ALONG THE WAY，喬馬諾･塞蘭特策展〉 2019年3月25日-4月14日
139. José Parlá
b. 1973
Friends Around Town signed, titled and dated, ‘José Parlá “Friends Around Town” 2019 J Parlá’ on the reverse acrylic, oil, collage and plaster on canvas 101.6 x 127 cm. (40 x 50 in.) Executed in 2019. Provenance Donated directly by the artist Exhibited Hong Kong Contemporary Art (HOCA) Foundation, José Parlá - Textures of Memory, Curated by Dieter Buchhart, 18 September - 11 October 2019
何賽．帕拉 《城鎮朋友》 壓克力 油彩 拼貼 石膏 畫布 2019年作 款識: José Parlá《Friends Around Town》2019 J Parlá (畫背) 來源 由藝術家本人直接捐贈 展覽 香港當代藝術基金會（HOCA） ， 〈記憶的紋理，由迪特·布赫哈特策展〉 ，2019年9月18日-10月11日
HK$ 420,000-520,000 US$ 53,800-66,700
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
Brooklyn-based visual contemporary artist José Parlá is critically acclaimed for his colourful multidisciplinary practice that blurs the lines between art, architecture, identity and environment. With infuences drawing from his Cuban-American heritage, involvement with Hip Hop’s underground art culture and his city surroundings, Parlá has established a style of painting that transforms the language of the street into a hybrid form of abstraction and urban realism. Finding inspiration in city walls tarnished from years of neglect, the artist’s vibrantly elaborate paintings capture the rawness of urban decay, revealing hidden narratives as the layers are unpacked. Both Friends Around Town and Reason Random Season are prime examples of Parlá's uniquely improvisational approach, as he combines painted marks rendered in acrylic and oil, with plaster and collages of found ephemera. Complex in their execution, both striking canvases invite the viewer to dissect their surfaces from an archaeologist’s point of view. The more Parlá’s works are engaged with, the more detail emerges in their layered surfaces, strengthening their narratives as their urban histories are revealed. Widely celebrated for his permanent installations of large-scale murals, Parlá has also exhibited worldwide, presenting solo shows in recent years at the Bryce Wolkowitz Gallery in New York (2019), the Neuberger Museum of Art (2018), SCAD Museum of Art (2017), Brand New Gallery in Milan, Italy (2017) and at the YoungArts in Miami (2016).
當代藝術家何賽·帕拉現居布魯克林，以其豐富多彩的跨界 多面向之藝術創作而廣受讚譽，獨特的藝術表現不僅模糊 了藝術、建築、身份認同以及環境間的既定界限。 帕拉身為美籍古巴裔，挾帶著這樣文化背景，他也對嘻哈 音樂的地下藝術文化和城市環境深感興趣，從而演變出 特殊的個人繪畫風格，將街頭藝術語彙轉變且揉合抽象 以及都會現實主義的一種形式。他往往從城市裡年久失修 的骯髒牆壁上找到靈感，用充滿生命力的油彩，揭開了 一層又一層被覆蓋住的隱藏敘事，捕捉了都會衰落間的 生猛力量。 《城鎮朋友》和《理性 隨機 季節》兩件作品皆是帕拉以其獨特 即興手法所創作出的代表佳作，結合了壓克力顏料及油彩 的筆觸，加上石膏及現成物拼貼。創作出繁衍豐富的 質地，兩幅精湛的作品無非像是在邀請觀眾化身為考古 學家來仔細考究每個細節。帕拉越是投入，畫面層次表現 上就呈現越多細節，隨著都會歷史被層層揭露，畫面中 敘事性也愈加強烈。 帕拉以大型壁畫的永久裝置而聞名，展覽遍及世界各地， 近年來在紐約布萊斯·沃爾科維茨畫廊(2019年)、紐伯格美 術館(2018年)、SCAD美術館(2017年)、義大利米蘭Brand New畫廊(2017年)和邁阿密的YoungArts（2016年)。
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
140. José Parlá
b. 1973
Reason Random Season signed, titled and dated ‘José Parlá “REASON RANDOM SEASON” 2019 JOSÉ PARLÁ J Parlá’ on the reverse acrylic, oil, collage and plaster on canvas 91.4 x 91.4 cm. (35 7/8 x 35 7/8 in.) Executed in 2019. Provenance Donated directly by the artist Exhibited Hong Kong Contemporary Art (HOCA) Foundation, José Parlá - Textures of Memory, Curated by Dieter Buchhart, 18 September - 11 October 2019
何賽．帕拉 《理性 隨機 季節》 壓克力 油彩 拼貼 石膏 畫布 2019年作 款識: José Parlá《REASON RANDOM SEASON》 2019 JOSÉ PARL Á J Parlá (畫背) 來源 由藝術家本人直接捐贈 展覽 香港當代藝術基金會（HOCA）， 〈記憶的紋理，由迪特·布赫哈特策展〉 ， 2019年9月18日-10月11日
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
HK$ 320,000-420,000 US$ 41,000-53,800
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
141. Futura
b. 1955
THEY SAW US signed, titled and dated ‘Futura “THEY SAW US” 2019’ on the reverse spray paint and acrylic on canvas 152.6 x 121.7 cm. (60 1/8 x 47 7/8 in.) Executed in 2019. Provenance Donated directly by the artist
Futura 《他們看到我們》 噴漆 壓克力 畫布 2019年作 款識：Futura《THEY SAW US》2019 (畫背) 來源 由藝術家本人直接捐贈
HK$ 200,000-400,000 US$ 25,600-51,300
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
Dubbed the godfather of contemporary grafti, Futura – also known as Leonard Hilton McGurr – has been widely praised for putting the ‘art’ into street art. Alongside contemporaries including Jean-Michel Basquiat and Keith Haring, the multi-faceted American artist helped to defne the grafti movement of the early 1970s through introducing abstraction to an entirely letterbased medium. Executed in 2019, the freshly-painted present work demonstrates Futura’s technical mastery, of which his successors have yet to match. Rendered in brilliant hues, Futura’s pioneering spirit as an inventor for new spraying techniques is clearly evident, in which larger areas of paint juxtapose impossibly thin aerosol lines. Applying paint to a canvas laid on the ground, similar to his predecessor Jackson Pollock, THEY SAW US is marked by a repertoire of motifs that Futura has come to be known for in his now refned approach. Energetic whilst still retaining a sense of balance, a pattern of atoms, stars and circles intermix on the predominantly primary coloured work. In a highly retro-futuristic style, the bright composition is as much about the artist’s internal mind as it is about our wider galaxy. THEY SAW US is a striking example of Futura’s unique aesthetic that has lef an unforgettable mark on modern culture.
Futura被視為當代塗鴉的教父，本名為李奧納多·希爾頓· 麥格爾，因將「藝術」融入街頭藝術而獲得廣泛讚譽。 與尚·米歇爾·巴斯基亞和凱斯·哈林等同輩藝術家 齊名，Futura是一位全方位的美國藝術家，將抽象元素 引入之前全然以文字為基礎的街頭塗鴉，定義了1970年代 初期的塗鴉運動。 本幅作品創作於2019年， Futura精湛的技法在此顯露 無遺，繼他之後的塗鴉藝術家無人能敵。此作色調紛呈， 而令人耳目一新的噴漆手法，更可端見Futura不斷求新 求變的開創精神，他在噴灑及堆砌大面積的顏料同時， 卻又以細微到不可思議的噴漆線條與之相襯。他採用了 與前輩藝術家傑克遜·波洛克類同的方法，將畫布鋪在地面 上，而《他們看到我們》之所以特別，是在於它不僅充滿了 Futura向來著名的豐富視覺主題，然而在畫面執行上， 卻又更顯成熟流暢。活力四射的同時，仍保持平衡感， 讓物理原子、星辰和圓狀物在三原色為主的基調上相互 交織。高度具有復古的未來主義之風格，慧黠的構圖既可 解讀成藝術家的內在心象，又可舒展以觀，像是一片 遼闊無垠的宇宙銀河。Futura在現代文化留下深刻印記 《他們看到我們》正是其獨特美學的代表之作。
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
142. Cleon Peterson
b. 1973
Deceive You Red signed and dated ‘Cleon 19’ on the reverse oil on canvas 61.4 x 45.8 cm. (24 1/8 x 18 in.) Painted in 2019. Provenance Donated directly by the artist
克萊恩·佩特森 《紅朦》 油彩 畫布 2019年作 款識: Cleon 19（畫背） 來源 由藝術家本人直接捐贈
HK$ 100,000-120,000 US$ 12,800-15,400
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
The dystopian worlds portrayed in Cleon Peterson’s paintings investigate the struggles between power and submission. Depicting themes of violence, sex, carnage and chaos, the Los Angeles based artist’s aesthetic is heavily inspired by the classical Greco Roman vases of warriors in battle— resulting in modern day scenes that appeared to have regressed into the past. Deliberately confning his colour palette to red, white and black, the artist uses the bold emotive shades to further highlight his thoughts on present day moral and social issues, as well as global and national politics – “Red, black, and white feels violent and references the authoritarian colours used in propaganda, uniforms and symbols from the past.” (Cleon Peterson quoted in ‘Cleon Peterson’s new exhibition Blood & Soil attacks American politics head on,’ It’s Nice That, 6 July 2018, online). At once provocative, gripping and shocking, Peterson’s works unapologetically confront their viewers with the darkest recesses of the human mind.
克萊恩·佩特森的畫作著重探討權力和屈服間的掙扎， 反映出一個反烏托邦世界。其作品主題包括暴力、性、 屠殺和混亂。這位駐洛杉磯藝術家的美學觀受古希臘和 古羅馬陶器上的戰爭圖像啟發，因此作品呈現的現代 生活場景猶如回歸歷史一般。 藝術家故意把用色限制在紅、白、黑三色，以情感充沛 的鮮明色調進一步突出自己對當今道德和社會問題，以及 國際和國內政治的想法， 「紅、黑、白有暴力的感覺，借鑒 過去用於宣傳、制服和符號的權力色彩。」 （克萊恩·佩特森， 錄於〈克萊恩·佩特森的新展覽〈血與土〉迎面襲擊了 美國的政治〉 ， 《那很好》 ，2018年7月6日，截自網路） 佩特森的作品吸引觀者的注意力，富挑逗性，震撼人心， 毫不猶豫地把人類心理最深處的黑暗面呈現觀者眼前。
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
143. Shepard Fairey
b. 1970
Rose Shackle signed, numbered and dated ‘AP HPM Shepard Fairey 19’ lower lef and right respectively silkscreen and mixed media collage on paper, HPM 104.1 x 76.2 cm. (40 7/8 x 30 in.) Executed in 2019, this work is an artist's proof. Provenance Donated directly by the artist
謝帕德·費瑞 《玫瑰鐐銬》 絲網版畫 綜合媒材 拼貼 紙本 HPM 2019年作，此為藝術家藏版。 款識：AP HPM Shepard Fairey 19 (左及右下) 來源 由藝術家本人直接捐贈
HK$ 55,000-75,000 US$ 7,100-9,600
Shepard Fairey’s hand painted multiples (HPM) are built on the medium of stencilled pulp, collage, screen print and embossing, resulting in highly tactile works that seem to portray the textured energy of the streets and city in his works.
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
謝帕德·費瑞的手繪版畫（HPM）創作手法是結合了模版 紙漿、拼貼、絲網印刷和壓紋等材質之運用，因而產生了 具有高度肌理質感的作品，我們在他的作品中能感受到 街頭和城市的能量。
Lotus Ornament signed, numbered and dated ‘AP HPM Shepard Fairey 19’ lower lef and right respectively silkscreen and mixed media collage on paper, HPM 104.1 x 76.2 cm. (40 7/8 x 30 in.) Executed in 2019, this work is an artist's proof. Provenance Donated directly by the artist
HK$ 55,000-75,000 US$ 9,000-11,500
謝帕德·費瑞 《蓮花裝飾》 絲網版畫 綜合媒材 拼貼 紙本 HPM 2019年作，此為藝術家藏版。 款識：AP HPM Shepard Fairey 19 (左及右下) 來源 由藝術家本人直接捐贈
香港當代藝術基金會慈善拍賣
b. 1970
HOCA Foundation Beneft Auction
144 . Shepard Fairey
145. Erik Parker
b. 1968
Mind Revolution signed and dated ‘2005 Parker ERIK PARKER’ on the reverse silkscreen on paper 76.2 x 55.9 cm. (30 x 22 in.) Executed in 2005, this work is an artist’s proof. Provenance Donated directly by the artist
埃里克．帕克 《思想革命》 絲網版畫 2005年作，此作為藝術家試作版。 款識: 2005 Parker ERIK PARKER（畫背） 來源 由藝術家本人直接捐贈
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
HK$ 15,000-25,000 US$ 1,900-3,200
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
146. Felipe Pantone
b. 1986
Chromadynamica Manipulable Ultraviolet ink on aluminium composite mounted on plywood structure with metal guides 177.7 x 120.8 x 10.5 cm. (69 7/8 x 47 1/ 2 x 4 1/8 in.) Executed in 2019. Provenance Donated directly by the artist
費利佩．潘通 《可操縱光波》 紫外線油墨 鋁復合材料 裱於膠合板及金屬導軌 2019年作 來源 由藝術家本人直接捐贈
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
HK$ 100,000-150,000 US$ 12,800-19,200
‘Colour only happens because of light, and light is the only reason why life happens. Light and colour are the very essence of visual art. Thanks to television, computers, and modern lighting, our perception of light and colour has changed completely.’ Felipe Pantone
For Felipe Pantone, his art is a meditation on the ways we consume visual information in the technological age, exploring the displacement of the light spectrum. Taking his source of inspiration from kinetic artists such as Victor Vasarely and Carlos Cruz-Diez, he utilises the moiré efect (in which lines of contrasting colour give the impression of movement), creating an electric vibrating sensation. To achieve this efect, Pantone uses a modeling sofware that allows for 3D insights and he translates this into his paintings and sculptures. 對於費利佩·潘通而言，他的藝術是對我們在科技時代快速 消耗視覺信息生活方式的沉思，探索光譜的位移。 他從 維克多·瓦薩拉利 和卡洛斯·克魯茲·迪斯 等動態藝術家 那裡汲取靈感，利用莫爾效應（對比色的線條作用下，觀者 產生了靜止的作品在動之視覺效果），於作品中創造動能的 感覺。 為了達到這種效果，潘通使用了一種模組軟體， 可提供三維視覺效應，並將其轉換為他的繪畫和雕塑作品。
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
147. Alexandre Farto aka VHILS
b. 1987
Dicey Series #19 signed ‘Alexandre Farto’ on the reverse hand-carved and laser-cut advertising posters collected from the street 194.3 x 125.4 cm. (76 1/ 2 x 49 3/8 in.) Executed in 2019. Provenance Donated directly by the artist
亞歷山大·法爾托 (維里斯) 《Dicey Series #19》 手工雕刻街頭收集廣告牌 2019年作 款識：Alexandre Farto (背面) 來源 由藝術家本人直接捐贈
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
HK$ 160,000-260,000 US$ 15,400-23,100
‘I like to use destructive means to create artwork that is meaningful and poetic, mostly portraits that can humanize the often oppressive public space that we fnd in our cities.’ Alexandre Farto aka VHILS
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
148 . Daniel Arsham
b. 1980
Quartz Eroded Vogue Magazine 101 quartz, selenite, hydrostone 121.9 x 92.7 x 5.7 cm. (47 7/8 x 36 1/ 2 x 2 1/4 in.) Executed in 2019, this work is unique. Provenance Donated directly by the artist
丹尼爾·阿瑟姆 《風化水晶Vogue時尚雜誌101》 石英 月光石 硬式石膏 2019年作，此為獨版。 來源 由藝術家本人直接捐贈
HK$ 150,000-250,000 US$ 19,200-32,100
HOCA Foundation Beneft Auction
香港當代藝術基金會慈善拍賣
With a noteworthy career spanning over a decade, New-York based artist Daniel Arsham has established a name for himself that exceeds any niche or discipline, touching each end of the art world spectrum. Through thought-provoking and eye-catching work, Arsham has masterminded a multidisciplinary practice that exists between art, architecture, and performance. Unpacking the world we live in through a range of media, the one thread that ties his work together is that of inevitability – that objects in the present refect ideas from the past, and are destined to be transformed by the future. Renowned for reimagining objects of nostalgia into ‘Future Relics’— objects of the past that appear to have been unearthed from archaeological digs in the year 3019; Arsham also explores dichotomies between reality and fction, as well as destruction and creation. Showcasing the iconic Vogue magazine in his signature minimalist aesthetic— quartz crystals that seem to grow out of eroded surfaces on a clean matte background, the artist brings the humble domestic sized periodical into the realm of a massive fne sculpture. Rendered in his signature pale shades of monochromes, Arsham creates a work that marries the past and the future, in turn speculating on the fate of humanity through the exploration of space and light. Executed in 2019, the artist also pays homage to the passing of legendary architect I. M. Pei, his name carved in relief onto the lower lef of the magazine cover of the magazine, immortalising him as part of an object that transcends time.
駐紐約藝術家丹尼爾·阿瑟姆的藝術事業獲得關注已橫跨 十載，他的創作超越任何一種歸類或定義，涉及藝術界 幅度兩端。其作品引人注目，並激發思考，阿瑟姆的跨界 創作遊走於藝術、建築和行為表演之間，透過各種媒介 表達出我們生活的世界。貫穿其作品的一個元素就是不可 逃避的必然性，當下的一個物件代表了來自過去的概念， 在未來也必將被改變。藝術家常把懷舊的物品重現為 「未來的紀念品」，就像是3019年出土的文物一般。阿瑟姆 也經常探討真實與虛構、破壞與創造之間的兩分法。 阿瑟姆以其別樹一幟的極簡美學呈現出 Vogue 時尚 雜誌，風化水晶仿佛從侵蝕的表面而生，背景是一片淡雅 素色。藝術家把身活中常見、不起眼的雜誌變成大型精美 的雕塑。作品呈藝術家標誌性的單色調，結合了過去與未來， 從而通過空間和光線推測人類的命運。此作品創作於 2019年，藝術家亦向剛去世的貝聿銘致敬，其名字被立體 地銘刻在雜誌封面左下方，成為超越時間的一部分。
香港當代藝術基金會慈善拍賣
Daniel Arsham
HOCA Foundation Beneft Auction
‘Crystals grow over millennia, so is the work falling apart, or growing together?’
149. KAWS
b. 1974
AT THIS TIME stamped with the artist name, date of work and edition number ‘5/25 KAWS..16’ on the underside bronze and paint 27.8 x 13.4 x 8.5 cm. (10 7/8 x 5 1/4 x 3 3/8 in.) Executed in 2016, this work is number 5 from an edition of 25 plus 5 artist’s proofs. Provenance Private Collection, Tokyo Acquired from the above by the present owner
KAWS 《此時》 銅雕 塗漆 2016年作, 共有25版及5版藝術家版, 此為第5版。 款識: 5/25 KAWS..16 (印於底部) 來源 東京私人收藏 現藏者購自上述來源
HK$ 800,000-1,200,000 US$ 103,000-154,000
AT THIS TIME presents KAWS’ signature COMPANION fgure standing alone with his head tilted backwards and his eyes sunk in his hands. The COMPANION’s posture conveys myriad, contradicting emotions- spanning disbelief, rest, isolation and playfulness. Captured in a state of isolation, COMPANION appears sad and alone – in a complete paradox to its name. Yet when seen through a child’s eyes, the character’s pose transforms into a playful expression, redolent of the childhood game of hide-and-seek. From play to retreat, invitation to isolation, the COMPANION’s pose conjures a poignant vulnerability that summons empathy from its viewers. At once whimsical and psychologically charged, the domestic sized sculpture invites viewers into a visual universe that is infused with KAWS’ instantly recognisable cartoon imagery. Enamoured with the world of cartoons to the point of creating his own graphic fgures, KAWS designed his frst COMPANION character in 1999, which initially took the form of a small-scale fgurine. Executed in bronze and painted in the artist’s classic grey colourway, the present lot exemplifes KAWS’ rise to the canon of contemporary art, encapsulating the artist’s visual language that oscillates between popular culture and fne art.
《此時》呈現了KAWS標誌性的「夥伴」 （Companion） 形象，獨自站立，頭往後仰，眼睛摀在手後。 「夥伴」的 姿勢傳遞了數不清的、矛盾的情緒——包括了懷疑、 平靜、孤立和俏皮。呈現於孤立的狀態中， 「夥伴」顯得 悲傷和孤單——與其名字完全相悖。然而以孩童的眼光 來看時，這個人物的姿勢轉變為一種俏皮的形像， 仿若在玩童年捉迷藏的遊戲。從玩耍到躲避，從開放到 孤立， 「夥伴」的姿勢讓人心生一種悲戚的脆弱感，喚起 觀者的同情心。 異想天開和心理衝擊共存，這件居家大小的雕塑呼喚 觀者進入一個充滿KAWS其極具辨識性的卡通圖像之 視覺宇宙。著迷卡通世界以至於開始創造他自己的圖像 角色，KAWS於1999年設計了他的第一個「夥伴」人物， 且在最初是以一件小型雕像的形式。以青銅鑄造並以藝術 家經典的灰色調塗繪，本拍品代表了KAWS在當代藝術中 的正式崛起，涵蓋了藝術家在流行文化與藝術之間融會 貫通的視覺語言。
150. KAWS
b. 1974
UNTITLED (MBFL10) signed and dated ‘KAWS..15’ on the reverse acrylic on canvas 188.5 x 154 cm. (74 1/4 x 60 5/8 in.) Painted in 2015. Provenance Mary Boone Gallery, New York Acquired from the above by the present owner
KAWS 《無題 (MBFL10)》 壓克力 畫布 2015年作 款識：KAWS..15 (畫背) 來源 紐約，Mary Boone 畫廊 現藏者購自上述來源
HK$ 2,500,000-3,500,000 US$ 321,000-449,000
Cartoons are a genre no longer confned to the realm of children’s entertainment. Its ability to relate to all ages and remain timeless throughout history and contemporary culture is ofen overlooked. American artist KAWS, taps into this medium by parodying characters from popular cartoons with his distinct artistic aesthetic. The artist draws from the comforting familiarity associated with popular cartoon characters, but also abstracts and reworks them with warped perspectives and frenzied outlines to elicit complex emotional responses from his viewers. With ‘X’s for eyes that conventionally represent death in cartoon culture, the present lot shows KAWS utilising his signature motif onto a familiar comic strip beagle character. Well-known for his clean visual imagery, KAWS’s lack of visible brushstrokes and use of a minimalist monochrome palette maintain a graphic quality to the work— stripping the fgurative into an abstract surface that directly confronts its viewers. The viewer recognises the lovable beagle character, but its crossed-out eyes and agitated lines assign an entirely new personality to the original cartoon. The repetitive efect from the multiplication of the fgure conveys a sense of insecurity— as if the character is attempting to assert its presence by echoing itself. Using accessible characters as his main subjects, KAWS opens up the realm of art not only to art critics and intellectuals, but also to a mass audience through popular culture.
卡通已不再是一種僅侷限於兒童娛樂領域的題材。它所具 有的讓所有年齡段的人都能理解、和在歷史與當代文化中 保持永恆的能力往往被人們忽視。美國藝術家KAWS， 通過以其獨特的藝術美學來諧擬流行卡通中的人物，啟用 了這一媒介。藝術家從流行卡通人物所給予的令人慰藉之 熟悉感中汲取靈感，但同時也以變形的視角和瘋狂的輪廓 將它們抽象化與重塑，在觀者身上喚起複雜的情感反應。 以傳統意義上在卡通文化中代表死亡的「X」作為眼睛， 本拍品展示了KAWS將他的標誌性圖案運用到人們熟悉的 漫畫中的卡通狗之角色中。以其簡潔的視覺圖像而聞名， KAWS寫意的筆觸和對極簡主義的單色調色塊之使用， 為作品保留了平面圖像般的質感—將寫實的圖像剝離成為 直面觀者的抽象表面。觀者辨認出了可愛的卡通狗，然而 其「X」眼和顛狂的線條則給這個漫畫原型賦予了全新的 個性。對人物身形的重複增加所產生的效果傳遞了一種 不安全感－彷彿試圖通過回應自身來強調它的存在。 藉由將人們熟悉的人物作為他主要的創作主題，KAWS 不僅向藝術評論家和知識分子；更是通過流行文化為廣大 觀眾打開了藝術領域。
151. KAWS
b. 1974
UNTITLED signed and dated ‘KAWS.. 13’ on the reverse acrylic on canvas diameter 51 cm. (20 1/8 in.) Painted in 2013. Provenance Guy Hepner Gallery, New York Private Collection SBI Art Auction, Tokyo, 22 April 2017, Lot 301 Acquired at the above sale by the present owner
KAWS 《無題》 壓克力 畫布 2013年作 款識: KAWS.. 13 (畫背) 來源 紐約，Guy Hepner 畫廊 私人收藏 東京，SBI拍賣行，2017年4月22日，拍品編號301 現藏者購自上述拍賣
HK$ 800,000-1,200,000 US$ 103,000-154,000
KAWS is one of the most iconic and prolifc artists of our generation. An artist, collector, designer and entrepreneur with a multi-disciplinary artistic practice incorporating painting, sculpture and printmaking, his multi-faceted identity refects the fuid nature of art, technology and contemporary popular culture. Over the years, he has created a unique visual language spanning Pop Art, abstract painting, art history and popular culture, the artist’s shaped canvasses ofering a window into his graphic visual world of uncanny cartoon characters and highly abstracted compositions. UNTITLED cleverly utilises the circular shape of the canvas, conveying a single eye that directly confronts its viewer. This magnifed perspective allows the viewer to visualise a larger character beyond the canvas, creating a presence more imposing and emotionally charged than its domestic size. His use of fat, non-hierarchical application of paint with no visible brushstrokes also instils the work with a highly graphic quality, blurring the boundaries between fguration and abstraction. With a sharp contrasting colour palette of muted grey, bold red and radioactive yellow, accompanied by KAWS’ characteristic cross over the eye alluding to drunkenness or death, the simplicity of the composition allows its colours to take the stage. Through UNTITLED, KAWS shows his innate understanding of the emotional and intellectual force of colour, eliciting undercurrents of angst, unease and even empathy in the viewer. Drawing inspiration from popular cartoon characters then stripping them of their familiarity through warped perspectives and abstraction KAWS’ work captures the shifing boundaries between the real and virtual, the personal and public, as he continues to work deliberately to reject the air of exclusivity surrounding art, synthesising elements of high and low culture across all areas of his work.
KAWS是我們這個時代最具標誌性和最多產的藝術家 之一。作為一名藝術家、收藏家、設計師和企業家，通過 結合繪畫、雕塑和版畫製作進行多元藝術實踐，他多方面 的身份反映了藝術、科技和當代流行文化所具有的流動性 本質。多年來，他創造了一種涵蓋波普藝術、抽象繪畫、 藝術史和流行文化的獨特視覺語言，藝術家的不規則形狀 布面作品為觀者提供了一個通向他那有著不可思議的卡通 人物和高度抽象構圖的圖像視覺世界之窗口。 《無題》巧妙地運用了圓形的畫布，呈現了一隻直面觀者 的眼睛。這種放大化的視角讓觀者去猜測畫布之外的 一個更大的人物，創造出一種比居家的尺寸更具氣勢和 情緒感的存在。他對平整、無層次、無明顯筆觸的運用， 也使作品逐漸形成高度圖像化的質感，模糊了具象與抽象 之間的界限。柔和的灰色、大膽的紅色和警示性的黃色 形成鮮明的對比色，並伴隨著KAWS特有的X眼，暗示著醉 酒或死亡，構圖上的簡潔給予了色彩發揮的空間。通過 《無題》，KAWS展示了他對色彩在情感上和理智上的力量 有著與生俱來的理解，引發觀者心中生起焦慮、不安甚至 同情的暗流。 從流行卡通人物身上汲取靈感，然後通過變形的視角 和抽象化處理將其所蘊含的熟悉感剝離，隨著他不斷努力 去排除圍繞藝術的排他性，在他創作的各個方面去融合高 雅和大眾文化的元素，KAWS的作品捕捉到了真實與 虛擬、個人與公共之間不斷變幻的界限。
‘KAWS is not just referring to pop culture, he is making it.’ Michael Auping
Property from a Private European Collection
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152. Yue Minjun
b. 1962
Two works: Contemporary Terracotta Warriors No.5 each signed, numbered and dated ‘yue minjun 5 1/25; 2/25 2003’ on the reverse respectively acrylic on fbreglass and reinforced plastic with iron base Each 188 x 90 x 30 cm. (74 x 35 3/8 x 11 3/4 in.) Executed in 2003, these two works are number 1 and 2 from a set of 25 and are accompanied by a certifcate of authenticity signed by the artist. Provenance Alexander Ochs Gallery, Berlin Acquired from the above by the present owner Exhibited Scheveningen, Museum Beelden aan Zee, Xianfeng! Chinese Avant-garde Sculpture , 2005 Herford, Museum fur zeitgenossische Kunst und Design, Loss of Control, 2008
歐洲私人收藏
岳敏君 兩件作品:《現代兵馬俑5號》 壓克力 玻璃纖維 強化纖維塑料 鐵座 2003年作，此組雕塑共有25件，此為第1與第2件， 並附藝術家所簽發之認證書。 款識: yue minjun 5 1/25; 2/25 2003 (每件背面) 來源 柏林，Alexander Ochs 畫廊 現藏者購自上述來源 展覽 斯赫弗寧恩，貝爾登博物館， 〈先鋒！中國前衛雕塑〉，2005年 黑爾福德，當代藝術與設計博物館， 〈失控〉，2008年
HK$ 550,000-750,000 US$ 70,500-96,200
As part of 5 unique sets of sculptures that the artist created, the present lot is part of the group titled Contemporary Terracotta Warriors No.5. Yue Minjun created fve of these sets of unique sculptures, each comprising of 25 warriors with a diferent stylistic rendering of the arms, some with their arms crossed in front of their bodies, some with their hands over their ears, and in this instance, with their arms raised. The artist wittily injects contemporaneity through his reinterpretation of the historical terracotta warriors found in the tomb of Qin Shi Huangdi, one of China’s most infuential emperors. Yue Minjun creates each of his warriors to be identical in order not to exhibit individualism, making a bold statement critiquing the numbing similitude that plagues current society in modern day.
此作品來自藝術家特別創作的雕塑系列，屬於《現代 兵馬俑 第五號》作品組合。岳敏君創造了五組獨一無二 的雕塑，每組包括二十五位勇士，各人的手臂姿態都 不一樣，有些在胸前交叉，有些雙手蓋住耳朵，而在這件 作品中他們則雙手高舉。藝術家重新詮釋秦始皇陵的 兵馬俑，注入幽默的當代感。岳敏君刻意把每位勇士的 長相統一，不顯示任何個人色彩，對充斥現代社會已麻木 的大眾統一潮流作出大膽直接的抨擊。
‘I paint people laughing, whether it is a big laugh, a restrained laugh, a crazy-laugh, a near-death laugh or simply laughter about our society: laughter can be about anything.’ Yue Minjun
Property from a Prominent Hong Kong Collection
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153. Liu Wei
b. 1972
Jungle No. 6 canvas on wood 243 x 151.5 x 16.1 cm. (95 5/8 x 59 5/8 x 6 3/8 in.) Executed in 2012. Provenance Long March Space, Beijing Acquired from the above by the present owner
重要香港私人收藏
劉韡 《叢林6號》 畫布 木 2012年作 來源 北京，長征空間 現藏者購自上述來源
HK$ 350,000-450,000 US$ 44,900-57,700
Widely considered to be one of China’s most progressive and intriguing artists to have emerged onto the international contemporary art scene, Beijing-based Liu Wei’s multidisciplinary practice transcends both medium and material. As part of a generation who grew up in a period of accelerated urbanisation and ideological instability, Liu Wei’s artworks ofen concern the complexity of the human condition, particularly within the facets of contemporary urban life. In his uniquely diverse body of work that includes paintings, sculptures, photography and installation art, Liu Wei frequently reworks found materials in an abstract manner. In doing so, the artist draws new meanings out of the materials. In his visual exploration of 21st century sociopolitical concepts, Liu Wei presents his viewers with abstract representations that crystalise China’s rapid transformations. As the frst work from the artist’s Jungle series (2012-2014) to be ofered at an international auction platform, Jungle No.6 (Lot 153) is a prime example of Liu Wei’s industrial monochrome canvases that expand the scope of painting. Composed of a muted khaki sheet of rough canvas stretched over the frame, Liu Wei elevates the surface of the work through various thickly folded seams. Secured with hard creases visibly bolted to wooden supports, the structure of Liu Wei’s crisscrossed work denies the canvas of its conventional use as a surface for painting. The faintly discoloured nature of the canvas material suggests a life before being adhered to the artist’s frame, refecting the artist’s infuences found in the transforming urban landscape around him. Forming new architectural constructions in Exotic Lands No.14 (Lot 154), Liu Wei also utilises salvaged debris to highlight upon the signifcance of mediums in the art-making process. Re-purposing industrial wooden doors and building materials, Liu Wei reassembles the found materials into abstract, geometric confgurations. As suggested by the series title, Exotic Lands, the process of de-familiarising objects contributes to generating an unexpectedly foreign visual experience for the viewer. Furthermore, the artist’s process of dismantling followed by reconstruction echoes that of an evolving cityscape, thus providing the viewer with a somewhat ironic commentary concerning the contradictions of contemporary urban society. As a leading fgure in China’s post-cultural revolution art establishment, Liu Wei’s work is widely collected and internationally celebrated. Alongside being exhibited in prestigious organisations worldwide, (such as his frst solo exhibition at the Cleveland Museum of Art) Liu Wei’s artworks are included in numerous museum collections, including the M+Sigg Collection in Hong Kong, the National Gallery of Victoria in Melbourne, the Samsung Museum of Art in Seoul, and the Hammer Museum in Los Angeles. The invitations for Liu Wei to exhibit at both the 2005 Venice Biennale and the most recent 2019 edition, confrms that the artist’s unique visual attraction continues to enrich the history of abstract art.
被廣泛認為是進入國際當代藝術領域的;並最具突破性 和吸引力的中國藝術家之一，定居於北京的劉韡以多方位 的藝術實踐超越了媒介和材質。作為成長於迅速的城市化 進程和意識形態動盪時期的一代，劉韡的作品時常關注人 的狀態之複雜性，尤其是當代城市生活的方方面面。 在他包括了繪畫、雕塑、攝影和裝置藝術在內的獨特多元 作品中，劉韡經常以抽象的形式對現成材料進行重新 塑造。通過這種方式，藝術家從這些材料中挖掘出新的 含義。在他對二十一世紀社會政治觀念的視覺探索中， 劉韡以抽象的表現向觀者呈現了一幅描繪中國飛速轉型 的清晰畫面。 作為藝術家《叢林》系列（2012-2014年） 中首件在一個國際 拍賣平台上拍售的作品， 《叢林6號》是劉韡對繪畫領域進行 擴張後，充满工業感的單色畫典範。將一張柔和的卡其色 粗糙畫布覆蓋於畫框之上，劉韡通過各種折疊得厚實之 接縫將作品表面拉高。通過將堅硬的摺痕明顯地釘在木頭 支撐上來做加固，劉韡作品中的十字交叉結構顛覆了畫布 作為傳統意義上用做平面繪畫的功能。隱約褪色的畫布 材質暗示著其被附著於藝術家的畫框之前的形態，影射了 藝術家身邊變化之中的城市景觀對他所產生的影響。 在《異域14號》中，劉韡也利用了源自廢棄的殘骸來構築 新的建築構造，強調媒介在藝術創作過程中的重要性。 將工業木門和建築材料重新利用，劉韡將現成的材質重新 組裝，成為抽象、幾何形狀的結構。正如該系列的標題， 《異域》所示，對物件陌生化的過程引發觀著產生意想不到 的陌生視覺體驗作用。此外，藝術家在拆除之後緊跟著 重建的過程也體現了城市風景的不斷演變，因此在一定 程度上為觀者提供了對當代城市化社會所具有的矛盾和 諷刺性評論。 作為中國文革之後藝術領域的重要人物，劉韡的作品被 廣泛收藏，且享譽國際。除了在全世界各地的著名機構 舉辦展覽之外， （如在美國克利夫蘭美術館舉辦的個人展） 劉韡的作品也被多個美術館所收藏，包括香港的M+ 希克藏品、墨爾本的維多利亞國家美術館、首爾的三星 美術館，以及洛杉磯的漢莫爾美術館。於2005年以及最近 的2019年舉辦的兩屆威尼斯雙年展均邀請劉韡參展，證明 了藝術家的獨特視覺魅力在不斷豐富著抽象藝術的歷史。
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154. Liu Wei
b. 1972
Exotic Lands No.14 signed and dated ‘Liu Wei [in Chinese] Liuwei 2012’ on the reverse wood, stainless steel 225 x 122.5 cm. (88 5/8 x 48 1/4 in.) Executed in 2012. Provenance White Cube Acquired from the above by the present owner
劉韡 《異域14號》 木 不銹鋼 2012年作 款識: 劉韡 Liuwei 2012 (畫背) 來源 白立方畫廊 現藏者購自上述來源
HK$ 500,000-700,000 US$ 64,100-89,700
155. Kazuo Shiraga
1924-2008
Shisen (Purple Fairy) signed ‘Shiraga [in Kanji]’ lower lef; further signed, titled and dated ‘Kazuo Shiraga “Shisen” 1984 October [in Kanji] (59th year of Showa Era)’ on the reverse oil on canvas 60.6 x 72 cm. (23 7/8 x 28 3/8 in.) Painted in 1984, this work is accompanied by a certifcate of authenticity issued by the Japan Art Dealers Association. Provenance Private Collection Mallet Japan, Tokyo, 11 June 2010, Lot 170 Acquired at the above sale by the present owner
白髮一雄 《紫仙》 油彩 畫布 1984年作，並附日本洋畫商協會所開立之證書。 款識: 白髮（日文） （左下）；白髮一雄《紫仙》昭和五十九年十月（畫背） 來源 私人收藏 東京，Mallet Japan，2010年6月11日，拍品編號170 現藏者購自上述拍賣
HK$ 1,900,000-2,700,000 US$ 244,000-346,000
Much like the Action Painters rising out of post-war America and the Abstract Expressionism that followed suit, Kazuo Shiraga sought to shif preconceived artistic paradigms that he found were defunct, and which could no longer serve as vehicles through which to express himself. In his pursuit of a distinct mode of self expression, Shiraga frst founded the experimental group Zero-kai (Zero Society) with fellow artists in 1952, before joining the renowned Gutai group (which ofcially formed in 1955). The group’s inaugural show, the First Gutai Art Exhibition at the Ohara Kaikan Hall in Tokyo set the stage for a sensational performance that Shiraga put on: in a revolutionary feat of strength and stamina, the artist’s Challenging Mud pushed the boundaries of performance and artistic creation. Shiraga’s famous wrestle with mud—becoming one with this new material and the raw energy that tamed it—was the beginning of a lifetime of Performance Painting, created a full fve years before Yves Klein’s Anthropometry paintings. The artist would later move on to deploy his feet in his art creation, an enthrallingly new mode of painting that earned him a dedicated editorial in Life magazine in 1956. Shisen (Purple Fairy) was created during Shiraga’s mature, post-Gutai years, a period during which the artist had perfected his iconic foot-painting and had risen to even further international acclaim. In this work flled with bright fuchsias and purples, deep maroons and mauves, one detects a lighter, more boundless approach to painterly expression and impasto manipulation.
白髮一雄的藝術發展趨勢與美國戰後時期興起的行動派 繪畫和隨後的抽象表現主義藝術頗為相似，他不斷嘗試 改變那些他認為已經名存實亡的藝術慣例，以及不足以 表達自己的媒介。在他追求獨特自我表達方式的過程中， 白髮一雄與志同道合的藝術家於1952年一起建立了實驗性 質的「零社團」，其後又加入著名的「具體派」 （1955年正式 成立）。團體的首次展覽是在東京 Ohara Kaikan Hall 舉辦的「第一屆具體派藝術展」，期間白髮一雄上演了一場 轟動十分的行為藝術：作品《挑戰泥土》在力量與毅力的體 現中，打破表演與藝術創作之間的邊界。白髮一雄與泥土 搏鬥，與這種新媒材和馴服它的原始力量融為一體。 該次表演開啟了其一生追求的行動派繪畫，比伊夫·克萊 因的「身體繪畫」還要早整整五年。藝術家還在之後的創作 加入足繪，開創了史無前例的繪畫手法，更在1956年獲得 《生活》雜誌的專題刊登。 《紫仙》是白髮一雄後具體派年代的成熟作品，當時藝術家 已經完善了他最具標誌性的「足繪」，在國際上也獲得 更高度的讚揚。此作畫面以鮮艷的紫紅色、紫色、褐紫紅 和淡紫色為主，可見更趨淡雅無垠的畫風，增加畫質表達 或厚塗控制的深度。
Along with its playful title—a nod to mythology and folklore—Shishen (Purple Fairy) is a potent rumination on the entirety of Shiraga’s oeuvre: not only does it draw from the artist’s famed Water Margin series and his love for lore, it is perhaps even more reminiscent of his earliest red hues, featured in the earlier Red Liquid and Wild Boar Hunting series which captured the viscera of combat. Shiraga’s shif from darker hues to a more vibrant pink also faintly recalls Yves Klein’s own preoccupation with the symbology and purpose linked to change and selection of colour. Calling to mind Klein’s shif to Monopink in 1960, transitioning from an ‘immaterial’ blue to a more ‘corporeal’ and fesh-like pink or rose, perhaps Shisen (Purple Fairy) draws parallels to Klein’s method of transposing meaning onto colour. In so doing, Shisen (Purple Fairy)’s pinks transcend its title and take on the ‘concreteness’ that was enshrined in the namesake of Gutai. The present work echoes the essence of Gutai, captured by the group’s founder Yoshihara Jiro in its manifesto: ‘Gutai art does not change the material but brings it to life. It does not falsify the material. In Gutai art the human spirit and the material reach out their hands to each other’ (excerpt from translation by Reiko Tomii, originally published as “Gutai bijutsu sengen,” Geijutsu Shinchō 7, no. 12 (December 1956), pp. 202–04). Kazuo Shiraga would go on to explore the interrelationship between body and material throughout his entire oeuvre, and in particular become most well-known for his foot paintings—a hallmark of his opus which he continued into his eighties.
作品題目充滿玩味，向神話和民間傳說致意， 《紫仙》是 白髮一雄創作歷程中一個十分有力的代表，不僅有來自其 著名的《水滸傳》系列和其鐘愛的鬼怪傳說，更令人想起他 早期的《紅色液體》和《狩獵野豬》系列中的搏鬥元素。 白髮一雄從黑暗的調子轉換到更加鮮明的粉紅色，令人想 到伊夫·克萊因對符號主義和對顏色改變和選擇的意義。 克萊因在1960年轉換到單色粉紅，從「非物質」的藍色到 更為「物質」和肉體般的粉色和玫瑰色， 《紫仙》或許與 克萊因為顏色植入意義的手法相通，如此， 《紫仙》中的 粉色便超越了題目，呈現「具體感」，如具體派的意義 一般。此作呼應具體派的核心思想，如團體創始人吉原 治良在具體派宣言中所說： 「具體派藝術不是改變材料， 而是讓它活過來，不會去竄改材料。在具體派藝術中， 人類精神與材料都向對方伸出了手。」 （節錄自 Reiko Tomii 翻譯，原版出版為〈具體藝術宣言〉， 《藝術新潮》 第7期，第12冊（1956年12月），202-04頁） 白髮一雄隨後在其一生的創作中繼續探討身體與媒材 的相互關係，以其足繪最為人所知，到了八旬年齡還 不斷創作，成為其藝術的標誌。
Property from a Distinguished Private Asian Collection
156. Yayoi Kusama
b. 1929
Infnity Nets signed, titled and dated ‘Yayoi Kusama 1990 “Infnity Nets [in Kanji]”’ on the reverse acrylic on canvas 72.7 x 60.6 cm. (28 5/8 x 23 7/8 in.) Painted in 1990, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Provenance Private Collection Mainichi Auction, Tokyo, 21 April 2018, Lot 203 Acquired at the above sale by the present owner
重要亞洲私人收藏
草間彌生 《無限之網》 壓克力 畫布 1990年作，並附草間彌生工作室之登記卡。 款識: Yayoi Kusama 1990《無限之網》(畫背) 來源 私人收藏 東京，東京本社拍賣行，2018年4月21日，拍品編號203 現藏者購自上述拍賣
© Yayoi Kusama
HK$ 4,800,000-6,800,000 US$ 615,000-872,000
Painted amidst a period of major retrospectives cementing Yayoi Kusama’s unique place within the context of the contemporary art canon in Japan and New York in the 90’s, Infnity Nets exemplifes the Japanese artist’s most iconic motif, in which she transposes her life-long psychosis on canvas in the form of an undulating web of interconnected lines. A body of works frequently revisited over a period of ffy years under the concept of self-obliteration, the Infnity Nets series is a cornerstone of the artist’s formal explorations and overall vision, setting the foundations for her most signifcant works and installations. Kusama frst started her Infnity Nets series in New York in 1958 in the form of a web of white lines and loops over a monochromatic white background. The series started as the artist’s approximation of her hallucinations sufered since childhood, where she would envision her entire surroundings covered in undulating patterns. During such moments of psychological unrest, Kusama described fnding herself engulfed by rhythmic nets and dots, and feeling compelled to replicate the structure’s overwhelming cellular formations on material support. The kaleidoscopic framework enveloping her body would then extend from her thoughts and onto the canvas. It was this endless reach and repetition of this motif which sparked Kusama’s fxation on the concept of selfobliteration – to lose herself and subsume her individual ego within the ‘infnite,’ in turn spurring the obsessive production of Infnity Nets paintings.
© Yayoi Kusama
草間彌生在90年代舉辦的主要回顧展為她奠定了在日本 和紐約的當代藝術領域獨特地位，創作於那一時期背景下 的《無限之網》，是這位日本藝術家最具標誌性的主題 代表作，畫中她將自己一生的精神混亂狀態以互相交織的 線條所形成的起伏之網的形式，轉移至畫布上。在過去 五十年的時間裡，她不斷憑藉自我消融的概念，重新回到 她那令人著迷的作品中， 《無限之網》系列是藝術家在形式 上的探索和整體視野的基石，為她最重要的作品和裝置 奠定了基礎。 草間彌生最初於1958年在紐約開始，在單純白色的背景上 以白色線條和環狀的形式開始她《無限之網》的創作。 該系列始於藝術家對自童年時代起便困擾她的幻覺之 描繪，在那裡她設想自身周遭都被起伏的圖案所覆蓋。 在這種心理焦慮的時刻，草間彌生描述自己被由點和半 圓組成的、充滿節奏之網所吞噬，一種強迫感促使她以 物質支持的形式去複製那個令人窒息的蜂窩狀結構。 那個包裹她身體的、萬花筒式的架構隨後從她的思想延 伸到了畫布上。正是對這個主題無窮無盡的延伸和重複激 發了草間彌生對自我消融概念的執迷——放開她自己， 讓她個人的自我歸入「無限」，從而促使了她癡迷地創作 《無限之網》繪畫作品。
With a pitch black rhythmic lattice rendered over a ruby red background, the present painting marks a key point in the evolution of Kusama’s painting over three decades towards incorporating more colour and organic imagery. As exemplifed by Infnity Nets, uneven impasto present in earlier net paintings shifed to fatter, less visible brushstrokes, conveying a graphical approach that further highlighted her obsession with the theme of interconnectedness, and the integration with ones environment through self-obliteration. As with other Infnity Nets painted during this time, the present lot introduces more dynamism and depth through the variation of the sizes and thickness of the lines composing her webs. This results in delicate gradients between two contrasting shades, creating a visual efect of a net afoat on crimson waters, or the topographical ebb and fow of a landscape. This elegant visual efect created through simple repetition of form and colour is also a quality attributed to the artist’s formal training in traditional Japanese Nihonga painting, drawing its viewer into Kusama’s highly personal and immersive, ever-changing psychological environment. Archetypal of this series, Infnity Nets conveys the inextricable relationship between Kusama’s signature style and the psychotic struggles pervading her own life. In doing so, the work beautifully presents Kusama’s neurosis and epitomises the artist’s compulsive need to self-obliterate through intense, ritualistic repetition.
以華麗的紅寶石色為背景鋪陳深黑色，該畫作代表了 草間彌生在繪畫具有節奏感之單色調框架的三十年裡， 其轉型的巔峰之作。到了這個時候，草間彌生在1990年代 所創作的《無限之網》在朝著融入更多色彩和有機圖像 的演變中，已經和她最初的網有著顯著的不同。正如 《無限之網》所展示的，早年網的繪畫中出現的不平整之 厚塗，已轉向更平、更不明顯的筆觸，傳遞了一種前衛的 圖像處理，來進一步凸顯她對相互交纏，以及通過自我 毀滅來融入所處的環境這一主題的迷戀。正如其他在這個 時期創作的《無限之網》一樣，本拍品通過不同的大小和 構成網的線條之不同粗細，呈現更多的活力和深度。這使 兩種對比陰影之間產生微妙的漸變，創造出深紅色水域之 上漂浮著一張張網的視覺效果，或是高低錯落的地理風 貌。這一通過簡單地重複形式和色彩所創造的優雅視覺效 果，歸功於藝術家在傳統的日本畫（Nihonga）方面的正式 訓練，吸引觀者進入草間彌生那高度個人化和沈浸式的、 不斷變幻的心理環境之中。 作為這一系列的典型之作， 《無限之網》傳達了草間彌生的 標誌性風格與滲透著她自己生命與精神鬥爭之間，有著 密不可分的關係。通過這種方式，這件作品完美地呈現了 草間彌生的精神症，並體現了藝術家對通過強烈、儀式性 的重複來實現自我消融的強迫性需求。
157. Sadamasa Motonaga
1922-2011
Two & Two signed and dated ‘Sadamasa Motonaga 1982 [in Kanji]’ on the stretcher acrylic on canvas 53 x 45.7 cm. (20 7/8 x 17 7/8 in.) Painted in 1982. Provenance Fergus McCafrey, New York Acquired from the above by the present owner
HK$ 100,000-150,000 US$ 12,800-19,200
元永定正 《二和二》 壓克力 畫布 1982年作 款識：元永定正 一九八二年 (畫框) 來源 紐約，Fergus McCaffrey 畫廊 現藏者購自上述來源
158. Takeo Yamaguchi
1902-1983
Sya signed, titled and dated ‘“Sya” October 1963 Takeo Yamaguchi [in Kanji]’ on the reverse oil on board 41 x 32 cm. (16 1/8 x 12 5/8 in.) Painted in 1963, this work is accompanied by a certifcate of authenticity signed by Takeo Yamaguchi Artwork Registration Association. Provenance Private Collection, Tokyo Acquired from the above by the present owner
HK$ 400,000-600,000 US$ 51,300-76,900
山口長男 《斜》 油畫 木板 1963年作，並附山口長男作品登錄委員會頒發之認證書。 款識： 《斜》一九六三年九月 山口長男 (畫背) 來源 東京私人收藏 現藏者購自上述來源
159. Zao Wou-Ki
1920-2013
Composition signed and dated ‘Wou-Ki [in Chinese] ZAO 61’ lower right watercolour on paper 37.5 x 28.2 cm. (14 3/4 x 11 1/8 in.) Executed in 1961, this work is accompanied by a certifcate of authenticity issued by the Fondation Zao Wou-Ki. Provenance Galerie La Hune, Paris Private Collection (acquired from the above in 1962) Ader, Paris, 9 June 2017, Lot 223 Acquired at the above sale by the present owner
趙無極 《構圖》 水彩 紙本 1961年作, 並附趙無極基金會所簽發之保證書。 款識：無極 ZAO 61 (右下) 來源 巴黎, La Hune 畫廊 私人收藏（於1962年購自上述來源） 巴黎，Ader，2017年6月9日，拍品編號223 現藏者購自上述拍賣
HK$ 700,000-900,000 US$ 89,700-115,000
Property from a Distinguished Hong Kong Collection
160. Lalan
b. 1921-1995
Untitled mixed media on paper 42.5 x 150 cm. (16 3/4 x 59 in.) Executed in 1987, this work is to be included in the artist’s forthcoming monograph published by Kwai Fung Art Publishing House in 2020. Provenance Collection of the Lalan Estate Kwai Fung Hin Art Gallery, Hong Kong Acquired from the above by the present owner Exhibited Hong Kong, Kwai Fung Hin Art Gallery, Singing in Colours and Dancing in Ink - Retrospective Exhibition of Lalan (Works of 1958-1994), 25 November 2016 - 23 January 2017
HK$ 350,000-550,000 US$ 44,900-70,500
重要香港私人收藏
謝景蘭 《無題》 綜合媒介 紙本 1987年作，此作品將收錄於2020年由季豐美術出版社出版之 謝景蘭專論書。 來源 謝景蘭遺產管理會收藏 香港，季豐軒畫廊 現藏者購自上述來源 展覽 香港，季豐軒畫廊， 〈謝景蘭1958-1994作品回顧展 - 吟色舞墨〉， 2016年11月25日-2017年1月23日
As a female pioneer of Chinese abstract art, Lalan (Xie Jinglan) joins the ranks of other prolifc Chinese artists working in Paris during the second half of the twentieth century alongside the practice of her frst husband Zao Wou-Ki, of whom she moved from China to the French capital with in 1948. Like her contemporaries, Lalan’s practice did not conform to boundaries set by traditional Chinese ink paintings, nor the styles developed by their Western counterparts. Instead, Lalan’s controlled, fuid work combines infuences drawn from China’s ancient heritage and the buzzing artistic scene in Paris at the time. The present work exemplifes Lalan’s uniquely refned aesthetic sense. Gestural calligraphic strokes dance across the blue-toned work, drawing the viewer’s eyes around in a rhythmic yet delicate manner. Infusing her profound understanding of music and dance with her painterly technique, Lalan immerses her viewer into a dynamic domain. Painted during the fnal stage of an artistic cycle that followed her from abstract to representational, before reverting back to abstract – the present work demonstrates Lalan’s matured compositional mastery. Lalan’s practice was widely celebrated in France throughout her career, fnding international acclaim, for being bold, avant-garde and going against the trends of her time to create only what she truly believed in.
謝景蘭是中國抽象藝術界之女性藝術家先鋒，她在二十 世紀後半葉加入當時在巴黎創作的中國前衛藝術家們， 在她第一任丈夫趙無極身旁一同創作，她於1948年隨丈夫 從中國移居法國首都巴黎。謝景蘭與同輩藝術家一般， 沒有被傳統中國水墨藝術的規限所捆綁，也不輕易受西方 藝術家的風格所左右。謝景蘭流暢而控制精準的作品， 結合了中國古代文化和當其時巴黎的藝術趨勢。 本幅作品彰顯了謝景蘭獨有的優雅精緻美學。富有動態的 書法筆觸在以藍色為底的紙上翩翩起舞，觀者的目光 不由落在其既有韻律又細膩的抽象世界。謝景蘭在創作中 融合了她對音樂和舞蹈的深刻領會，引觀者進入一個富有 活力的另類世界。此作繪於謝景蘭藝術循環的最終關鍵 時刻，她從抽象到具象，又回歸抽象，此次作品彰顯了其 成熟完善的構圖技藝。 謝景蘭，生前其不同時期的創作在法國廣受讚譽， 更在國際上獲得激賞，以其大膽鮮明的前衛藝術而著稱， 不隨波逐流，真誠的創造自己內心所感。
Property from a Distinguished Hong Kong Collection
161. Zao Wou-Ki
1920-2013
Stèle No.3 (Stone No.3) signed ‘Wou-ki [in Chinese] ZAO’ lower centre; further signed, numbered, incised with the fabricator’s name, date and number ‘Wou-ki [in Chinese] ZAO LA TUILERIE 89250 TREIGNY 2007 7/8 03’ on the reverse glazed ceramic sculpture 27 x 40.5 cm. (10 5/8 x 15 7/8 in.) Executed in 2007, this work is number 7 from an edition of 8. Provenance Acquired directly from the artist by the present owner
HK$ 80,000-100,000 US$ 10,300-12,800
重要香港私人收藏
趙無極 《石碑3號》 釉面 陶瓷 雕塑 2007年作，共有8版，此為第7版。 款識：無極 ZAO (中下); 無極 ZAO 7/8 (背面); LA TUILERIE 89250 TREIGNY 2007 03 (刻於背面) 來源 現藏者直接購自藝術家本人
Property from a Distinguished Hong Kong Collection
162. Zao Wou-Ki
1920-2013
Stèle No.4 (Stone No.4) signed ‘Wou-ki [in Chinese] ZAO’ lower right; further signed, numbered, incised with the fabricator’s name, date and number ‘Wou-ki [in Chinese] ZAO LA TUILERIE 89250 TREIGNY 2007 5/8 04’ on the reverse colour glazed ceramic sculpture 27.5 x 40.5 cm. (10 7/8 x 15 7/8 in.) Executed in 2007, this work is number 5 from an edition of 8. Provenance Acquired directly from the artist by the present owner
HK$ 100,000-150,000 US$ 12,800-19,200
重要香港私人收藏
趙無極 《石碑4號》 釉面 陶瓷 雕塑 2007年作，共有8版，此為第5版。 款識：無極 ZAO (右下); 無極 ZAO 5/8 (背面); LA TUILERIE 89250 TREIGNY 2007 04 (刻於背面) 來源 現藏者直接購自藝術家本人
163. Zao Wou-Ki
1920-2013
Ten Works: La Tentation de l’Occident by André Malraux a book set of ten lithographs book: 39.6 x 29.8 x 5.1 cm. (15 5/8 x 11 3/4 x 2 in.) each lithograph: 37.5 x 18 cm. (14 3/4 x 7 1/8 in.) Executed in 1962, this work is number 46 from an edition of 170. Provenance Private Collection, France Acquired from the above by the present owner
趙無極 十件作品: 安德烈·馬爾羅之《西方的誘惑》 一套十幅石版畫之書冊 1962年作, 共有170版, 此為第46版。 來源 法國私人收藏 現藏者購自上述來源
HK$ 100,000-150,000 US$ 12,800-19,200
Rendered in varying shades of colours, the present lot is a folio containing 10 lithographs executed by one of the greatest modern Chinese painters, Zao Wou-Ki. Written by André Malraux, La Tentation de l’Occident (The Temptation of the West), was published in 1926 following the trip of the French Minister of Culture to the Far East, composing of an exchange of letters between a Chinese travelling in Europe and a Westerner visiting China. Fittingly, as a Chinese living in Paris, Zao was elected to illustrate the book. In 1964, Zao was granted French citizenship on the request of Andre Malraux himself, and was later honoured by France for his contribution to the arts.
此套含括十幅石版畫的作品集，為華人現代繪畫大師 趙無極所作，每幅皆盡顯其筆下姿態萬千的色調。 1926年安德烈·馬爾羅撰寫並發表《西方的誘惑》，呼應 當時法國文化大臣前往遠東之行，書中以一位在歐陸旅行 的中國人與一位造訪中國的西方人之間書信往來所呈現。 身為異居於巴黎的華人，趙無極恰如其分地獲選為這本 書創作插畫。1964年，應安德烈·馬爾羅之邀，趙獲得了 法國國籍，後來更因其對藝術的貢獻而榮獲法國的讚譽。
164. Chen Wen Hsi
1906-1991
A Pair of Chickens signed and stamped with the seal of the artist ‘Chen Wen Hsi [in Chinese]’ upper lef; further stamped with another seal of the artist lower right ink and colour on paper 35.5 x 38.2 cm. (13 7/8 x 15 in.) Provenance Collection of the late Professor Arthur Lim Sotheby’s, Hong Kong, 5 April 2015, Lot 323 Acquired at the above sale by the present owner
HK$ 60,000-90,000 US$ 7,700-11,500
陳文希 《一對雞》 彩墨 紙本 款識：陳文希 (及藝術家鈐印一枚左上); 藝術家鈐印一枚 (右下) 來源 林少明教授故藏 香港，蘇富比，2015年4月5日，拍品編號323 現藏者購自上述拍賣
165. Alexander Calder
1898-1976
Soporifc Sun signed and dated ‘Calder 69’ lower right ink and gouache on paper 74.9 x 109.3 cm. (29 1/ 2 x 43 in.) Executed in 1969, this work is registered in the archives of the Calder Foundation, New York, under application number A06366. Provenance Perls Galleries, New York Collection of Dr. and Mrs. Arthur E. Kahn, New York (acquired from the above in 1970) Christie's, New York, 16 November 2016, Lot 298 (consigned by the Estate of the above) Acquired at the above sale by the present owner
亞歷山大．考爾德 《催眠的太陽》 水墨 水粉 紙本 1969年作，此作品以編號A06366收錄於紐約考爾德基金會之文獻庫。 款識: Calder 69 (右下) 來源 紐約，Perls 畫廊 紐約，Arthur E. Kahn 伉儷收藏 (於1970年購自上述來源) 紐約，佳士得，2016年11月16日，拍品編號298 (由上述之遺產管理會委託拍賣) 現藏者購自上述拍賣
HK$ 650,000-850,000 US$ 83,300-109,000
‘If you can imagine a thing, conjure it up in space then you can make it... The universe is real but you can't see it. You have to imagine it. Then you can be realistic about reproducing it.’ Alexander Calder
166. Li Chen
b. 1963
Soothing Breezes Floating Clouds incised with the artist name and seal, numbered and dated ‘Li Chen [in Pinyin] 8/8 2005’ on the reverse bronze and stainless steel 164.5 x 93 x 58 cm. (64 3/4 x 36 5/8 x 22 7/8 in.) Executed in 2005, this work is number 8 from an edition of 8 and is accompanied by a certifcate of authenticity issued by Asia Art Center. Provenance Taipei, Asia Art Center Acquired from the above by the present owner Exhibited Venice, 52nd International Art Exhibition - La Biennale di Venezia, Energy of Emptiness, 10 June - 21 November 2007 (another example exhibited) Beijing, National Art Museum of China, Li Chen in Beijing - Solo Exhibition: In Search of Spiritual Space, 29 April - 11 May 2008 (another example exhibited and illustrated on the inside cover) Taipei, Chiang Kai-shek Memorial Hall, Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, 6 November - 4 December 2011 (another example exhibited) Paris, Place Vendôme, La Légèreté Monumentale de Li Chen: Première Exposition de Sculptures, 2 - 29 September 2013, pp.92-93, 165 (another example exhibited and illustrated) Literature Asia Art Center, Li Chen Solo Exhibition: In Search of Spiritual Space - ENERGY OF EMPTINESS, Taipei, 2007, pp. 174-177 (another example illustrated on the inside cover) Asia Art Center, Soul Guardians - Li Chen Sculpture, Taipei, 2009, p. 29 (another example illustrated) Erin Cheng, eds., “The Beacon” Series: When Night Light Glimmers, Taipei, 2010, p. 23 (another example illustrated) Singapore Art Museum, MIND BODY SPIRIT, Singapore, 2010, p.53 (another example illustrated) Dimitri Bruyas, KNOWLEDGE and ENLIGHTENMENT by Li Chen ’Immortality of Fate’ and ‘Ordinary People’ Series , Taipei, 2016, pp. 74-75 (another example illustrated)
HK$ 800,000-1,200,000 US$ 103,000-154,000
李真 《清風雲露》 銅雕 不銹鋼 2005年作, 共有8版, 此為第8版，並附亞洲藝術中心之保證書。 款識: 藝術家鈐印一枚; Li Chen 8/8 2005 (背部) 來源 台北，亞洲藝術中心 現藏者購自上述來源 展覽 威尼斯，第52屆國際藝術展-威尼斯雙年展， 〈虛空中的能量〉， 2007年6月10日 - 11月21日 (同系列他版作品) 北京，中國美術館， 〈李真—尋找精神的空間〉， 2008年4月29日 - 5月11日（同系列他版作品，封面內頁） 台北，中正紀念堂， 〈大氣－ 李真台灣大型雕塑首展〉， 2011年11月6日 - 12月4日 (同系列他版作品) 巴黎，凡登廣場， 〈李真2013大型雕塑個展〉， 2013年9月2日 - 29日 (同系列作品圖版，第92-93、165頁 ) 出版 亞洲藝術中心， 〈李真個展-虛空中的能量〉，台北，2007， 第174-177頁（同系列他版作品，封面內頁） 亞洲藝術中心， 〈神魄－李真雕塑〉，台北，2009， 第29頁（同系列他版作品） 鄭詠倩編， 〈夜光盈昃-天燧系列〉，台北，2010， 第23頁（同系列他版作品） 新加坡美術館， 〈李真-精神．身體．靈魂〉，新加坡，2010， 第53頁（同系列他版作品） 迪米特里·布魯亞斯著， 〈知識與迷悟－李真「不生不滅」 與「凡夫」系列首展〉，台北，2016，第74-75頁（同系列他版作品）
167. Hsiao Chin
b. 1935
SOLE No.1 signed and dated ‘Hsiao Chin [in Pinyin and Chinese] 1964’ lower centre; further signed, titled and dated ‘“SOLE No.1” Hsiao Chin [in Pinyin and Chinese] 1964’ on the reverse acrylic on canvas 70 x 90 cm. (27 1/ 2 x 35 3/8 in.) Painted in 1964. Provenance Private Collection, Milan Acquired from the above by the present owner
HK$ 300,000-500,000 US$ 38,500-64,100
蕭勤 《太陽1號》 壓克力 畫布 1964年作 款識: Hsiao 勤 1964 (下中); 《SOLE No.1》Hsiao 勤 1964 (畫背) 來源 米蘭私人收藏 現藏者購自上述來源
‘My creation has always been rooted in the tradition of artistic and philosophical thoughts, thus pursuing the realm of 'unity of universe and human'; although most of it originated in the Taoist ideology, the methods used may vary, but the principle is the same.’ Hsiao Chin
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168. Ni Youyu
b. 1984
Dust (Whirlpool Nebula) with photograph signed, titled and dated ‘3/2017 “Dust (Whirlpool Nebula) Ni Youyu [in Chinese]’ on the accompanying photograph mixed media 111 x 160 x 7 cm. (43 3/4 x 62 7/8 x 2 3/4 in.) Executed in 2017. Provenance Galerie Perrotin, Shanghai Acquired from the above by the present owner
HK$ 150,000-200,000 US$ 19,200-25,600
倪有魚 《塵埃（漩渦星雲）及相片》 綜合媒材 2017年作 款識：3/2017《Dust (Whirlpool Nebula)》倪有魚 (於伴随照片上) 來源 上海，貝浩登畫廊 現藏者購自上述來源
Property from an Important Private Asian Collection
169. André Brasilier
b. 1929
Chevauchée dans la pampa (Riding in the Plains) signed ‘André Brasilier’ lower right oil on canvas 60 x 92 cm. (23 5/8 x 36 1/4 in.) Painted in 2014, this work is accompanied by a certifcate of authenticity by the Commission Brasilier. Provenance Opera Gallery, Hong Kong Acquired from the above by the present owner Exhibited Seoul, Dubai, Hong Kong, Opera Gallery, On Idle Shores - Solo Exhibition by André Brasilier, 7 May - 31 May 2015
重要亞洲私人收藏
安德烈·布拉吉利 《在南美大草原騎馬》 油彩 畫布 2014年作，並附布拉西里埃基金會所發之保證書。 款識：André Brasilier (右下) 來源 香港，奧佩拉畫廊 現藏者購自上述來源 展覽 首爾、迪拜、香港，奧佩拉畫廊， 〈海岸上的空閒 - 安德烈·布拉西里耶個展〉， 2015年5月7日 - 5月31日
HK$ 200,000-400,000 US$ 25,600-51,300
Chevauchée dans la pampa depicts a lyrically dreamlike landscape within which a cavalier charges forward atop a midnight black horse. Bathed in a sof, cool light, a herd of white and orange horses follow suit – racing through André Brasilier’s landscape and kicking up a cloud of dust in their wake. With their movement skillfully captured in only a few brushstrokes, and set against a lush background of tall green trees and yellowing grass, the present lot immerses the viewer into a timeless and feeting moment. Horses, described by the artist as “a superb creation… charged with symbolism, strength, dynamism and beauty” feature prominently in Brasilier’s momentous body of work, with inspiration drawing from his childhood in the countryside of Saumur, France. (the artist quoted in Ben Church, “‘Andre Brasilier: Horses are a symbol of divinity”, CNN, 30 October 2018, online). Infuenced also by Fauvist landscapes and Japanese print work, the enchantment of Brasilier’s practice derives from the artist’s unique mastery of harmonious colour and delicate compositions. Alongside major retrospectives at both the State Hermitage Museum in St. Petersburg and the Haus Ludwig Museum in Germany, Brasilier has been the subject of over 100 solo exhibitions across 20 countries.
《在南美大草原騎馬》呈現出一片抒情夢幻的景致， 騎手駕馭著深黑色的駿馬向前奔馳，後面緊隨的白色和 橘色馬群沐浴在一片柔和清爽的光線裡，在安德烈·布拉 吉利筆下的風景中馳騁，背後踢起一朵朵白色塵土。 馬匹的動態以簡單數筆勾勒而出，背景的綠樹高大，黃草 茂密，一片繁盛，帶觀者融入這個短暫既是永恆的時刻。 藝術家將馬形容為「一種非常的生物… 充滿符號意義、 力量、動力和美感」，經常出現在布拉吉利的重要作品中， 其靈感來自於童年在法國索米爾郊安的回憶。 （藝術家錄於 Ben Church， 《CNN》，2018年10月30日，截自網路） 藝術家亦受野獸派風景畫和日本版畫影響，而其作品 最吸引人之處來自他筆下的協調色彩和柔美構圖組成的 獨特畫面。 除了在聖彼得堡艾爾米塔日博物館和德國路德維希博物館 舉辦的大型回顧展，布拉吉利曾在二十個國家舉辦過逾 一百場個人展覽。
‘I consider Brasilier’s œuvre very much in the forefront of painting over the last half century.’ Lydia Harambourg
170. Sanyu
1901-1966
Nu accoudé (Leaning Nude) signed ‘Yu [in Chinese] SANYU’ lower right pencil on paper 25 x 49 cm. (9 7/8 x 19 1/4 in.) Provenance Private Collection Loudmer Scp., Paris, 1 July 1996, Lot 28 Acquired at the above sale by the present owner Literature Rita Wong, SANYU Catalogue Raisonne: Drawings and Watercolours, Taipei, 2014, no. D1037, electronic index p. 58 (illustrated)
HK$ 100,000-200,000 US$ 12,800-25,600
常玉 《傾斜裸體》 鉛筆 紙本 款識: 玉 SANYU (右下) 來源 私人收藏 巴黎，Loudmer Scp.，1996年7月1日，拍品編號28 現藏者購自上述拍賣 出版 衣淑凡著， 〈常玉素描與水彩全集〉 ，台北，2014年，圖版D1037， 電子附錄第58頁 (圖版)
171. Sanyu
1901-1966
Nu debout, jambe repliee (Standing Nude with Folded Leg) signed ‘Yu [in Chinese] SANYU’ lower right ink and charcoal on paper 42 x 25 cm. (16.5 x 9.8 in.) Provenance Private Collection Loudmer Scp., Paris, 1 April 1996, Lot 44 Acquired at the above sale by the present owner Literature Rita Wong, SANYU Catalogue Raisonne: Drawings and Watercolours, Taipei, 2014, no. D0156, electronic index p. 56 (illustrated)
HK$ 150,000-250,000 US$ 19,200-32,100
常玉 《裸女站姿》 水墨 炭筆 紙本 款識: 玉 SANYU (右下) 來源 私人收藏 巴黎，Loudmer Scp.，1996年4月1日，拍品編號44 現藏者購自上述拍賣 出版 衣淑凡著， 〈常玉素描與水彩全集〉，台北，2014年，圖版D0156， 電子附錄第56頁 (圖版)
172. Léonard-Tsuguharu Foujita
1886-1968
Tête de chat (Head of a Cat) signed ‘Foujita’ lower lef pencil and ink wash on paper laid down on board 16.5 x 12.4 cm. (6 1/ 2 x 4 7/8 in.) Executed in 1950, this work is accompanied by two certifcates of authenticity issued by Sylvie Buisson and the Japan Art Dealers Association respectively. Provenance Private Collection, Tokyo Acquired from the above by the present owner Literature Sylvie and Dominique Buisson, Léonard-Tsuguharu Foujita: Volume 2, Paris, 1987, no. 50.167, p. 395 (illustrated)
HK$ 48,000-58,000 US$ 6,200-7,400
藤田嗣治 《貓首》 鉛筆 水墨 紙本裱於木板 1950年作，並附Sylvie Buisson所簽發之保證書及 日本洋畫商協會所開立之證書。 款識：Foujita (左下) 來源 東京私人收藏 現藏者購自上述來源 出版 Sylvie 與 Dominique Buisson 著， 〈藤田嗣治：第2集〉 ，巴黎，1987年， 作品全集編號50.167，第395頁 (圖版)
173. Léonard Tsuguharu Foujita
1886–1968
Chat (Cat) signed, dated and inscribed ‘Tsuguharu [in Kanji] Foujita 1933’ lower right India ink and wash enhanced by watercolour on paper 22 x 28 cm. (8 5/8 x 11 in.) Executed in 1933, this work is accompanied by a certifcate of authenticity issued by Sylvie Buisson. This work will be included in the forthcoming fourth volume of the catalogue raisonné prepared by Sylvie Buisson. Provenance Private Collection, Tokyo Acquired from the above by the present owner
HK$ 100,000-200,000 US$ 12,800-25,600
藤田嗣治 《貓》 印度墨 水彩 紙本 1933年作，並附Sylvie Buisson所簽發之保證書。 此作品將收錄在Sylvie Buisson正籌備編纂的藤田嗣治 作品圖錄第4集。 款識：嗣治 Foujita 1933 (左下) 來源 東京私人收藏 現藏者購自上述來源
Property from a Private Collection, Copenhagen
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174. Ole Wanscher
1903-1985
Drop-leaf writing table, designed for the library of the Danish Institute of Science and Art, Rome Brazilian rosewood-veneered wood, Brazilian rosewood 74 x 179.7 x 83.9 cm. (29 1/8 x 70 3/4 x 33 in.) fully extended Designed 1967. Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside with manufacturer’s paper label printed Snedkermester/A. J. Iversen/København. Literature Møbelhåndværk gennem 40 år. Sned-kermester A. J. Iversen 1916-1956, Copenhagen, 1956, pp. 26-27 for the chair Marianna Ibler, Kay Fisker and the Danish Academy in Rome, Aarhus, 2006, pp. 13, 40-42, 44 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, pp. 37, 64-65
哥本哈根私人收藏
奧萊．萬夏 為丹麥科學與藝術學院圖書館而設計之《落葉寫作桌》 巴西黑黃檀木飾面板 巴西黑黃檀木 此作品於1967年設計，並由丹麥哥本哈根木匠名師A.J.艾弗森製造。 款識：Snedkermester/A. J. Iversen/København (印於作品底部標籤) 出版 Marianna Ibler著， 〈Kay Fisker and the Danish Academy in Rome〉，奧胡斯，2006年，第13、40-42、44頁 Arne Karlsen 著， 〈丹麥家具設計：20世紀，第2集〉，哥本哈根， 2007年，第37、64-65頁
HK$ 40,000-60,000 US$ 5,100-7,700
Property from a Private Collection, Copenhagen
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175. Ole Wanscher
1903-1985
Cabinet Brazilian rosewood-veneered wood, Brazilian rosewood, brass. 154 x 112.5 x 41.9 cm. (60 5/8 x 44 1/4 x 16 1/ 2 in.) Designed 1954. Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside with manufacturer’s paper label printed Snedkermester/A. J. Iversen/København. Literature Møbelhåndværk gennem 40 år. Sned-kermester A. J. Iversen 1916-1956, Copenhagen, 1956, p. 24 ‘Special edition’, Mobilia, no. 130, May 1966, n.p. Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 286 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, p. 44
The present model was frst exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Forum, Copenhagen, 16-26 September 1954, Stand 20.
HK$ 40,000-60,000 US$ 5,100-7,700
哥本哈根私人收藏
奧萊．萬夏 《儲物櫃》 巴西黑黃檀木飾面板 巴西黑黃檀木 銅 此作品於1954年設計，並由丹麥哥本哈根木匠名師A.J.艾弗森製造。 款識：Snedkermester/A. J. Iversen/København (印於作品底部標籤) 出版 〈家具工藝40年，木匠名師A.J.艾弗森 1916-1956〉， 哥本哈根, 1956年, 第24頁 〈Mobilia〉，特別版，第130集，1966年5月，無頁數 Grete Jalk 編， 〈丹麥家具藝術:40年，第3集: 1947-1956年〉， 哥本哈根, 1987年, 第286頁 Arne Karlsen 著， 〈丹麥家具設計：20世紀，第2集〉，哥本哈根， 2007年，第44頁
此型號曾於1954年9月16日至26日在哥本哈根會議中心 〈哥本哈根細工木匠公會〉展出，展位編號20。
176. Filippo Sciascia
b. 1972
LUX LUMINA signed, titled and dated ‘“LUX LUMINA” 2014 Filippo Sciasca’ on the reverse oil on canvas 150 x 130 cm. (59 x 51 1/8 in.) Painted in 2014. Provenance Acquired directly from the artist by the present owner
菲利波．夏夏 《LUX LUMINA》 油彩 畫布 2014年作 款識： 《LUX LUMINA》2014 Filippo Sciasca (畫背) 來源 現藏者直接購自藝術家本人
HK$ 110,000-220,000 US$ 14,100-28,200
An Italian artist based in Bali and Florence, Filippo Sciascia’s LUX LUMINA series has unilaterally dealt with the concept of light in relation to the human condition, by examining its role and existence in art, science, archeology and evolution of society. Images in his works are drawn from digital photographic sources, then completed with the desire to stretch the limits of the paint medium to form surfaces that are part-sculpture, part-relief, allowing tactile cracks to evolve and take a record of time ephemeral.
生活在巴厘島和佛羅倫斯的義大利藝術家菲利波·夏夏的 《LUX LUMINA》系列通過研究光在藝術、科學、考古學 和社會進化中的作用與存在，去單方面研究其與人類狀況 相關的概念。他作品中的圖像出自於數位攝影方面的來源， 然後通過對擴展顏料介質的的極限之渴望來將其完善， 最終形成部分是雕塑、部分是浮雕的表面，讓可觸的裂縫去 演變和紀錄短暫的時間。
177. Rodel Tapaya
b. 1980
Untitled signed and dated ‘Tapaya 2008’ lower right acrylic on canvas 193 x 152 cm. (75 7/8 x 59 7/8 in.) Painted in 2008. Provenance Private Collection, Singapore Christie’s, Hong Kong, 31 May 2015, Lot 210 Acquired at the above sale by the present owner
HK$ 180,000-240,000 US$ 23,100-30,800
羅德爾·塔帕雅 《無題》 壓克力 畫布 2008年作 款識: Tapaya 2008 (右下) 來源 新加坡私人收藏 香港，佳士得，2015年5月31日，拍品編號210 現藏者購自上述拍賣
Property from a Private Southeast Asian Collection
178. Afandi
1907-1990
Self Portrait signed with the artist's monogram and dated ‘A 1975’ lower centre oil on canvas 91.5 x 86 cm. (36 x 33 7/8 in.) Painted in 1975. Provenance Private Collection, Asia Acquired from the above by the present owner
東南亞私人收藏
阿凡廸 《自畫像》 油彩 畫布 1975年作 款識: A 1975（中下） 來源 亞洲私人收藏 現藏者購自上述來源
HK$ 550,000-700,000 US$ 70,500-89,700
With a practice that has allowed international writers, art historians, artists and critics to express their deep appreciation of his great achievements as a ‘master of fne art’, Indonesian painter Afandi’s long embrace of self-portraiture is relatively unparalleled in art history. Stretching from his early experimentations in the 1930s to the fnal years of his life, the present lot, executed in 1975, is an exemplary of the artist’s wisened approach. As a leeway to self-documentation akin to Rembrandt and Van Gogh, Afandi’s self-portraits allowed for him to record his own psychical and psychological evolution, thus refecting upon his own individual existence. Rendered in his token energetic style, the present work depicts the artist at a later stage of his life, capturing the elderly man with a pensive expression and a pipe between his lips. With a particular melancholic touch to it, this abstract self-portrait of Indonesia’s most important expressionist is a striking example of the artist’s ability to transfer emotion onto the canvas. Composed of swirling textured lines of oil applied with a vibrant colour palette, Self-Portrait exudes a raw energy that engages the viewer beyond the artist’s appearance alone, as if his soul has been imprinted into the work. The emotional intensity captured in the painting conforms to Afandi’s personal philosophy that his art was a genuine expression of humanity.
憑藉其創作，讓國際上的作家、藝術史學家、藝術家和評論 家都對他作為一名「藝術大師」的偉大成就深表欽佩，印尼 畫家阿凡迪長期以來對自畫像的全身投入在藝術史上可謂 無人能及。跨越其在1930年代的早期實驗性創作到他人生的 晚年，本拍品，創作於1975年，是展現藝術家創作上成熟的 典範。類似林布蘭和梵谷的自我紀錄，阿凡迪的自畫像 使他能夠對自己身體和心理的演變去做紀錄，由此去反思 他個人的自身存在。 以象徵性的充滿活力之風格來呈現，該作品描繪了藝術家 人生的後期，捕捉了一位唇間含著一隻煙斗、神情憂思的 老者形象。帶著尤為憂鬱的氛圍，這幅近抽象的自畫像， 是印尼最重要的表現主義藝術家在用畫布呈現情感上的能力 之動人典範。通過將色彩鮮麗的油彩在布面構造出漩渦狀的 線條肌理， 《自畫像》滲透著一種原始能量，能讓觀者感受到 超越藝術家外表形象之外，彷彿看到他的靈魂烙印在其作品 之中。畫中所捕捉到的情感激烈程度與阿凡迪的個人哲學相 一致，即他的藝術是對人性的真實展現。
Property from a Private Southeast Asian Collection
179. Afandi
1907-1990
Jauk Manis Dancer signed with the artist's monogram and dated ‘A 1979’ lower centre oil on canvas 140 x 115 cm. (55 1/8 x 45 1/4 in.) Painted in 1979. Provenance Private Collection, Asia Acquired from the above by the present owner
東南亞私人收藏
阿凡廸 《巴厘面具舞者》 油彩 畫布 1979年作 款識：A 1979（中下） 來源 亞洲私人收藏 現藏者購自上述來源
HK$ 650,000-900,000 US$ 83,300-115,000
A dynamic and vigorous composition, Jauk Manis Dancer is a compelling example of the impulsive nature of Indonesian artist Afandi’s expressionist style. Through the artist’s signature ‘squeeze technique’, the subject is animated through spontaneous writhing strokes. Painting on-site and with a fast tempo in order not to lose momentum, Afandi eliminated the use of the brush and applied paint directly to the canvas to spread with his fngers. The vivid textures formed of contrasting colours, as seen in Jauk Manis Dancer, intermix to create highly energetic scenes that illustrate life with a sense of brilliant emotional clarity. In his practice, Afandi was allured by the pursuit of depicting the everyday quotidian of Indonesian culture, people, and its landscapes. As dance is an ancient tradition deeply rooted in the religious and artistic expression among the people of Bali, Afandi revisited the motif numerous times during his sojourns to the island. The Jauk dance, as depicted in the present lot, portrays the tale of a king of giants from the ancient kingdom, exploring the world through a dynamic performance. With bulging eyes and an eerie smile, a performer donning a black mask would represent a more fearsome giant. In stark contrast, a white mask, as seen in the present lot, represented a much gentler giant who would charm the audience with a welcoming grin. In both versions of the performance, masked dancers must convey emotion and character through gestures alone. The chaotic nature of the present lot’s composition thus refects the lively subject that is portrayed. Painted at a later stage of the artist’s life, Jauk Manis Dancer is also exemplary of Afandi’s matured artistic vocabulary that received frequent praise from international art critics nearly everywhere he went, including John Berger who proclaimed Afandi to be a “painter of genius.” (John Berger, ‘A Painter of Genius’, The New Statesman and Nation, 31 May 1952). In addition to exhibiting internationally and receiving numerous international awards throughout his career, Afandi’s practice has been widely published, confrming his position within the lexicon of art history as Indonesia’s most respected modern master painter.
構圖形象生動，充滿張力， 《巴厘面具舞者》是展示藝術家 阿凡迪充滿直覺的表現主義風格的絶佳典範。通過藝術家 標誌性的「擠壓技巧」 ，扭動自如的筆觸使畫中的人物躍然 紙上。為了不失當時的情境勢頭，阿凡迪以快速的節奏在 現場直接作畫，並且摒棄了畫筆，用手指將顏料直接塗抹至 畫布之上。正如我們在《巴厘面具舞者》中所看到的，色彩 的對比所形成的生動肌理，相互混合，營造出充滿活力 的場景，以透徹的情感衝擊對生命之寫照。 在其創作中，阿凡迪著迷於描繪印尼的文化、人物，以及自 然風光中的日常生活。由於舞蹈是深深植根於巴厘島人民用 於宗教儀式和藝術表現形式上的古老傳統，阿凡迪在島上逗 留期間不斷回視這一主題。賈克 （Jauk） 舞，如本拍品中所 展現的，描繪了一個來自古老王國的巨人國王之傳說， 通過動感的表演來探索世界。怒目圓睜、滿臉獰笑，戴著 黑色面具的表演者展示了一個更為驚悚的巨人。形成鮮明對 比的是，在本拍品中所展示的白色面具，代表了一個溫和 許多的巨人，用他熱情的笑容吸引著觀眾。在兩個版本的 表演中，賈克舞者必須僅通過姿勢來傳遞情感和人物性格。 本件拍品中的混沌構圖反映了藝術家對該主題的生動描繪。 畫於藝術家的晚年， 《巴厘面具舞者》也是阿凡迪的成熟 藝術語彙的典範，其藝術語彙在國際上所到之處無不 廣受讚譽，包括約翰·伯格將阿凡迪稱為「天才畫家。」 （約翰·伯格， 《天才畫家》， 《新政治家與國家》，1952年 5月31日）。除了在他的職業生涯中舉辦過國際性展覽和 獲得無數國際獎項之外，阿凡迪的創作也被廣泛出版 發行，證明了他作為最受尊崇印尼現代繪畫大師在藝術 史上的地位。
Property from a Private Southeast Asian Collection
180. Haji Widayat
1919-2002
Pergi ke Pasar (Trip to the Market) signed and dated ‘h. Widayat 91’ lower right; further signed, titled and dated ‘“PERGI KE PASAR” H. WIDAYAT 1991 h. Widayat 1991’ on the reverse oil on canvas 95.5 x 145 cm. (37 5/8 x 57 1/8 in.) Painted in 1991. Provenance Private Collection, Asia Acquired from the above by the present owner
東南亞私人收藏
哈吉．維達雅 《前往菜市場》 油彩 畫布 1991年作 款識：h. Widayat 91 (右下);《PERGI KE PASAR》 H. WIDAYAT 1991 h. Widayat 1991 (畫背) 來源 亞洲私人收藏 現藏者購自上述來源
HK$ 120,000-200,000 US$ 15,400-25,600
Born in Central Java, the prolifc artist Haji Widayat was among the frst class of students to attend the Indonesian Academy of Fine Arts (ASRI) in Yogyakarta. As a pioneer in the art of a uniquely Indonesian decorative style, the present lot is an enchanting example of Widayat’s meticulous, tranquil compositions. Rendered in a mostly monochromatic palette, the present lot displays a fatness that alludes to the infuences of Indonesian Batik art, yet the work’s fgurative features clearly difer from the more traditional patterns. Rich in texture, the fat motifs portrayed in the work fll the frame, demonstrating the artist’s vivid imagination and wide range of sources of inspiration. Exploring motifs derived from mythology or religious literature, Widayat would reinterpret them in his practice with an aesthetic that nods to both primitive and tradition art. Uniquely to him, however, is the sense of deep symbolism and magic that is evoked in his work, through his distinctive modern expression. With inspiration drawing from the spirit of his surroundings to imagery found in a variety of cultural sources, the present lot is a particularly narrative-driven example of his extraordinarily versatile practice. Exhibiting internationally throughout his fve-decades of his artistic career, the mysticism of Widayat’s exquisitely unique aesthetic has been widely celebrated.
出生於印尼爪哇中部，多產的藝術家哈吉·維達雅屬於 日惹的印度尼西亞美術學院 （ASRI） 第一批學生。作為該國 獨特裝飾風格藝術的先鋒人物，本拍品是維達雅的精緻、 恬雅構圖之迷人典範之作。基本以單色調繪製，本件拍品 所展示的平整，體現著來自印尼的蠟染藝術的影響，然而 作品中的具象特徵又明顯與傳統圖案有所區別。紋理 豐富，描繪的平整圖案充滿畫面，體現了藝術家生動的 想像力和廣泛之靈感來源。 探索源自神話或宗教文學中的主題，維達雅在他的創作中 以與原始藝術和傳統藝術相致的審美，對這些主題進行 全新的詮釋。然而，其特別之處在於，通過他獨特的現代 性表達，作品所喚起的深層象徵意義和魔幻感。從他身邊 環境的精髓和各種文化資源中發現的圖像汲取靈感， 本拍品是他極其多元的創作中尤為具有敘事性的例子。 在他五十年的藝術生涯中，他的作品在國際上被廣泛 展出，維達雅精湛獨特的美學一直廣受讚譽。
‘The artist who paints the emotions creates an enclosed world... the picture... which, like a book, has the same interest no matter where it happens to be. Such an artist, we may imagine, spends a great deal of time doing nothing but looking, both around him and inside him.’ Pierre Bonnard
181. Lê Ph
1907-2001
Jeunes Filles Aux Fleurs De Pêches (Young Girls with Peach Flowers) signed ‘Le Pho [in Chinese and English]’ lower right oil and gouache on silk mounted on board 71 x 44.5 cm. (27 7/8 x 17 1/ 2 in.) Provenance Private Collection Sotheby’s, Hong Kong, 1 October 2017, Lot 273 Acquired at the above sale by the present owner
HK$ 400,000-600,000 US$ 51,300-76,900
黎譜 《桃花與年輕女孩》 油彩 水粉 絹本 裱於木板 款識: 黎譜 Le Pho (右下) 來源 私人收藏 香港，蘇富比，2017年10月1日，拍品編號273 現藏者購自上述拍賣
Property from a Distinguished Hong Kong Collection
182. Walasse Ting
1929-2010
Three Beauties signed with artist’s signature stamp top right edge Chinese ink and acrylic on rice paper 177.2 x 95 cm. (69 3/4 x 37 3/8 in.) Executed in 1982. Provenance Private Collection China Guardian, Hong Kong, 2 October 2018, Lot 10 Acquired at the above sale by the present owner
HK$ 350,000-550,000 US$ 44,900-70,500
重要香港私人收藏
丁雄泉 《美人三》 水墨 壓克力 宣紙 1982年作 藝術家鈐印於作品右上邊緣 來源 私人收藏 香港，嘉德拍賣，2018年10月2日，拍品編號10 現藏者購自上述拍賣
183. Maki Hosokawa
b. 1980
Alice in Bisshi Biwa-lake Boat Race signed, titled and dated ‘2018 2018 [in Kanji] (30th year of the Heisei Era) Maki “Alice in Bisshi Biwa-lake Boat Race [in Japanese]”’ on the reverse acrylic on canvas 130 x 162 cm. (51 1/8 x 63 3/4 in.) Painted in 2018. Provenance Gallery Cellar, Tokyo Private Collection Acquired from the above by the present owner
HK$ 60,000-80,000 US$ 7,700-10,300
細川真希 《在滋賀縣琵琶湖划船比賽的愛麗絲》 壓克力 畫布 2018年作 款識：2018 平成30年 Maki 《在滋賀縣琵琶湖划船比賽的愛麗絲 (日文)》(畫背) 來源 東京，Cellar 畫廊 私人收藏 現藏者購自上述來源
184. Ayako Rokkaku
六角彩子
b. 1982
Untitled AR08-043 stamped with the artist’s name ‘ [in Japanese]’ upper lef acrylic on cardboard 90.8 x 60.7 cm. (35 3/4 x 23 7/8 in.) Executed in 2008.
Rokkaku Ayako
Provenance Gallery Delaive, Amsterdam Acquired from the above by the present owner
HK$ 150,000-250,000 US$ 15,400-23,100
《無題 AR08-043》 壓克力 紙板 2008年作 款識： Rokkaku Ayako (日文) (印於左上) 來源 阿姆斯特丹，Delaive 畫廊 現藏者購自上述來源
185. Ayako Rokkaku
六角彩子
b. 1982
Untitled AR08-044 stamped with the artist’s name ‘ [in Japanese]’ lower right acrylic on cardboard 80.5 x 59.8 cm. (31 3/4 x 23 1/ 2 in.) Executed in 2008.
Rokkaku Ayako
Provenance Gallery Delaive, Amsterdam Acquired from the above by the present owner
HK$ 120,000-180,000 US$ 15,400-23,100
《無題 AR08-044》 壓克力 紙板 2008年作 款識： Rokkaku Ayako (日文) (印於右下) 來源 阿姆斯特丹，Delaive 畫廊 現藏者購自上述來源
186. Ayako Rokkaku
b. 1982
Untitled signed and dated ‘2006 Rokkaku [in Japanese]’ on the reverse acrylic on cardboard 34.5 x 55 cm. (13 5/8 x 21 5/8 in.) Executed in 2006. Provenance Gallery WOONG, Seoul Private Collection, Korea Acquired from the above by the present owner
HK$ 60,000-80,000 US$ 7,700-10,300
六角彩子 《無題》 壓克力 紙板 2006年作 款識：2006 Rokkaku (日文)（畫背） 來源 首爾，WOONG 畫廊 韓國私人收藏 現藏者購自上述來源
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187. Ole Wanscher
1903-1985
Sideboard Brazilian rosewood-veneered wood, Brazilian rosewood, brass. 84.5 x 200.2 x 52 cm. (33 1/4 x 78 7/8 x 20 1/ 2 in.) Produced 1950s. Retailed by Illums Bolighus A/S, Copenhagen, Denmark. Reverse with metal label impressed ILLUMS BOLIGHUS/ KØBENHAVN. Provenance Illums Bolighus, Copenhagen Private Collection, Copenhagen (acquired from the above) Literature Illums Bolighus, Center of Modern Design, Copenhagen, 1961, n.p.
HK$ 40,000-60,000 US$ 5,100-7,700
奧萊．萬夏 《廚櫃》 巴西黑黃檀木飾面板 巴西黑黃檀木 黃銅 於1950年代製造，由丹麥哥本哈根，波利弗斯 A/S 專售。 款識：ILLUMS BOLIGHUS/KØBENHAVN (印於底部金屬標簽) 來源 哥本哈根，波利弗斯 哥本哈根私人收藏 (購自上述來源) 出版 〈波利弗斯，現代設計中心〉，哥本哈根，1961年，無頁數
Property from a Private Collection, Copenhagen
188. Kaare Klint
1888-1954
Extendable deckchair, model no. 4699 Cuban mahogany, cane, fabric 87 x 58 x 140 cm. (34 1/4 x 22 7/8 x 55 1/8 in.) fully extended Designed 1933. Executed by cabinetmakers Rud. Rasmussen A/S, Denmark. Underside with manufacturer’s partial paper label printed RUD. RASMUSSENS/SNEDKERIER/45 NØRREBROGAD/KØBENHAVN, architect’s monogrammed paper label and impressed 4. Literature Svend Erik Møller and Viggo Sten Møller, Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 1927-1951, Copenhagen, 1951, p. 56 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 1: 1927-1936, Copenhagen, 1987, pp. 169, 171 Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 121-22 Frederik Sieck, Contemporary Danish Furniture Design, Copenhagen, 1990, p. 152 Bodil Busk Laursen, Søren Matz and Christian Holmsted Olesen, eds., Mesterværker: 100 års dansk møbelsnedkeri, Copenhagen, 2000, pp. 33, 134 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 1, Copenhagen, 2007, pp. 111-13 Gorm Harkær, Kaare Klint, Vol. 1, Copenhagen, 2010, pp. 348, 351 Gorm Harkær, Kaare Klint, Vol. 2, Copenhagen, 2010, p. 32
The present model was frst exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 16 September-1 October 1933, Stands 15 and 16.
HK$ 10,000-20,000 US$ 1,300-2,600
哥本哈根私人收藏
卡爾·克林特 《伸縮躺椅 型號4699》 古巴桃花心木 藤條 布料 此作品於1933年設計，並由丹麥哥本哈根木匠名師 魯德·拉斯穆森A/S製造。 款識：RUD. RASMUSSENS/SNEDKERIER/45 NØRREBROGAD/ KØBENHAVN (印於作品底部標籤); 4 (印於建筑師會標標籤) 出版 Svend Erik Møll er、Viggo Sten Møller 著， 〈丹麥家具藝術， 哥本哈根櫥櫃家具展1927-1951年〉，哥本哈根，1951年，第56頁 Grete Jalk 編， 〈丹麥家具藝術40年, 第1集: 1927-1936年〉， 哥本哈根，1987年，第169、171頁 Esbjørn Hiort 著， 〈芬·祖爾：家具、建築及應用藝術〉，哥本哈根， 1990年，第121-122頁 Frederik Sieck著， 〈現代丹麥家具設計〉, 哥本哈根, 1990年, 第152頁 Bodil Busk Laursen、 Søren Matz及Christian Holmsted Olesen編, 〈Mesterværker: 100 års dansk møbelsnedkeri〉, 哥本哈根, 2000年, 第33、134頁 Arne Karlsen著,〈丹麥家具設計：二十世紀，第1集〉, 哥本哈根, 2007年, 第111-13頁 Gorm Harkær著, 〈卡爾·克林特，第1集〉, 哥本哈根, 2010年, 第348、351頁 Gorm Harkær著, 〈卡爾·克林特，第2集〉, 哥本哈根, 2010年, 第32頁
此型號曾於1933年9月16日至10月1日在哥本哈根丹麥藝術 與設計博物館〈哥本哈根細工木匠公會〉展出，展位編號15 與16。
Property from a Private Collection, Copenhagen
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189. Ole Wanscher
1903-1985
Extendable low table Brazilian rosewood-veneered wood, Brazilian rosewood, brass 52.2 x 122 x 47.8 cm. (20 1/ 2 x 48 x 18 7/8 in.) Designed 1950s. Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside with manufacturer’s paper label printed Snedkermester/A. J. Iversen/København. Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 286 for a similar example
HK$ 20,000-30,000 US$ 2,600-3,800
哥本哈根私人收藏
奧萊．萬夏 《可伸縮矮桌》 巴西黑黃檀木飾面板 巴西黑黃檀木 銅 此作品於1950年代設計，並由丹麥哥本哈根木匠名師A.J.艾弗森製造。 款識：Snedkermester/A. J. Iversen/København (印於作品底部標籤) 出版 Grete Jalk 編， 〈丹麥家具藝術40年，第4集: 1957-1966年〉， 哥本哈根, 1987年, 第286頁 （同系列他版作品）
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190. Jacob Kjær
1896-1957
‘U.N.’ armchair, model no. B48 Brazilian rosewood, leather. 76.7 x 61 x 55.3 cm. (30 1/4 x 24 x 21 3/4 in.) Designed 1956. Executed by master cabinetmakers Christensen & Larsen, Copenhagen, Denmark. Underside stamped with manufacturer’s mark. Provenance Private Collection, Copenhagen Literature Esbjørn Hiort, Modern Danish Furniture, New York, 1956, p. 132 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 358 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 32, 34
HK$ 20,000-30,000 US$ 2,600-3,800
雅各布．克賈爾 《「聯合國」扶手椅型號 B48 》 巴西黑黃檀木 皮革 此作品於1956年設計，並由丹麥哥本哈根木匠名師克裡斯滕森 及拉森製造。 （製造商標記印於底部） 來源 哥本哈根私人收藏 出版 Esbjørn Hiort 著， 〈現代丹麥家俱〉，紐約，1956年，第132頁 Grete Jalk 編， 〈丹麥家具藝術40年, 第3集: 1947-1956年〉， 哥本哈根，1987年，第358頁 Noritsugu Oda 著， 〈丹麥椅子〉，舊金山，1996年，第32 、34頁
China goes Pop! A Selection of Photographs by Andy Warhol During His Trip to China in 1982
安迪·沃荷中國之旅一系列相片
On 27 October 1982, Andy Warhol, along with his entourage, Christopher Makos, Fred Hughes and Natasha Grenfell arrived in Hong Kong. Thanks to an invitation extended by young businessman Alfred Siu, who had commissioned portraits of Prince Charles and Princess Diana from Warhol for the nightclub he was opening, they were surprised with a VIP trip to the Chinese capital for a few days. Seeing Chinese characters on his plane, passing signs on the way from the airport, the foreign cars, the diferent smells and tastes, Warhol was acutely aware of what was diferent about the place. Like his Campbell’s soup cans, Coca-Cola bottles and Brillo soap pad boxes, Warhol’s fascination in the rise of consumerism is what truly shines through in the present body of photographs from China, be if of its people, or of its everyday life.
於1982年10月27日，安迪·沃荷、攝影師克里斯多福· 馬可斯、Fred Hughes 和 Natasha Grenfell 從紐約抵達 香港。招待他們的年輕香港企業家蕭永豐之前曾為他 在香港新開張的會所委託沃荷創作查理斯王子和戴安娜 王妃的肖像，他邀請沃荷等人前往北京遊玩，一行人隨即 便踏上這個意料之外的首都豪華旅程。 對沃荷來說，北京就像是一連串視覺衝擊，飛機上看到的 中文字、從機場出來一路的標語和招牌、另類的汽車甚至 是各種氣味都讓沃荷清晰意識到這裡一切的不同和奇異 之處。本系列作品中出現的群眾和地標景點其實就猶如他 的金寶湯罐頭、可口可樂瓶和 Brillo 肥皂盒，體現了沃荷 對大量生產、消費主義和明星膜拜等現象的探討，也給予 本系列作品深刻的內涵與反思。
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191. Andy Warhol
1928-1987
Street Scene (Car) Each with blindstamp credit in the margin. Initialled ‘T.J.H.’ by Timothy J. Hunt of the Andy Warhol Foundation in pencil, estate copyright credit reproduction limitation and date stamps on the verso. gelatin silver print 20.3 x 25.4 cm. (7 7/8 x 10 in.) Executed in 1982, this work is accompanied by a certifcate of authenticity signed in ink by the Andy Warhol Foundation for the Visual Arts, Inc. Provenance The Andy Warhol Foundation for the Visual Arts, Inc., New York Acquired from the above by the present owner Literature Nicholas Chambers, Michael Frahm and Tony Godfrey, eds., Warhol in China, Germany, 2014, pp. 218, 304 (illustrated)
HK$ 20,000-40,000 US$ 2,600-5,100
安迪·沃荷 《街景 (車)》 銀鹽照片 1982年作，並附藝術家基金會所簽發之保證書。 每張照片邊緣均印有藝術家壓印；背面均印有安迪·沃荷 基金會版權及限量複製及日期印章，並由T.J.H.簽署。 來源 紐約，安迪·沃荷基金會 現藏者購自上述來源 出版 Nicholas Chambers、Michael Frahm、 Tony Godfrey 編， 〈沃荷在中國〉，德國，2014年， 第218、304頁 (圖版)
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192. Andy Warhol
1928-1987
Parking Lot Each with blindstamp credit in the margin. Initialled ‘T.J.H.’ by Timothy J. Hunt of the Andy Warhol Foundation in pencil, estate copyright credit reproduction limitation and date stamps on the verso. gelatin silver print 20.3 x 25.4 cm. (7 7/8 x 10 in.) Executed in 1982, this work is accompanied by a certifcate of authenticity signed in ink by the Andy Warhol Foundation for the Visual Arts, Inc. Provenance The Andy Warhol Foundation for the Visual Arts, Inc., New York Acquired from the above by the present owner Exhibited Woodstock, Blenheim Palace, Ai Weiwei at Blenheim Palace, 1 October 2014 – 26 April 2015 Literature Nicholas Chambers, Michael Frahm and Tony Godfrey, eds., Warhol in China, Germany, 2014, pp. 216, 304 (illustrated)
HK$ 20,000-40,000 US$ 2,600-5,100
安迪·沃荷 《停車場》 銀鹽照片 1982年作，並附藝術家基金會所簽發之保證書。 每張照片邊緣均印有藝術家壓印；背面均印有安迪·沃荷基金會版權 及限量複製及日期印章，並由T.J.H.簽署。 來源 紐約，安迪·沃荷基金會 現藏者購自上述來源 展覽 胡斯托，布倫漢宮， 〈艾未未在布倫漢宮〉，2014年10月1日至 2015年4月26日 出版 Nicholas Chambers、Michael Frahm、Tony Godfrey 編， 〈沃荷在中國〉，德國，2014年，第216、304頁 (圖版)
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193. Andy Warhol
1928-1987
Outdoor Barbers Each with blindstamp credit in the margin. Initialled ‘T.J.H.’ by Timothy J. Hunt of the Andy Warhol Foundation in pencil, estate copyright credit reproduction limitation and date stamps on the verso. gelatin silver print 20.3 x 25.4 cm. (7 7/8 x 10 in.) Executed in 1982, this work is accompanied by a certifcate of authenticity signed in ink by the Andy Warhol Foundation for the Visual Arts, Inc. Provenance The Andy Warhol Foundation for the Visual Arts, Inc., New York Acquired from the above by the present owner Exhibited Woodstock, Blenheim Palace, Ai Weiwei at Blenheim Palace, 1 October 2014 – 26 April 2015 Literature Nicholas Chambers, Michael Frahm and Tony Godfrey, eds., Warhol in China, Germany, 2014, p. 307 (illustrated)
HK$ 20,000-40,000 US$ 2,600-5,100
安迪·沃荷 《戶外理髮師》 銀鹽照片 1982年作，並附藝術家基金會所簽發之保證書。 每張照片邊緣均印有藝術家壓印；背面均印有安迪·沃荷基金會 版權及限量複製及日期印章，並由T.J.H.簽署。 來源 紐約，安迪·沃荷基金會 現藏者購自上述來源 展覽 胡斯托，布倫漢宮， 〈艾未未在布倫漢宮〉，2014年10月1日至 2015年4月26日 出版 Nicholas Chambers、Michael Frahm、Tony Godfrey 編， 〈沃荷在中國〉，德國，2014年，第307頁 (圖版)
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194. Andy Warhol
1928-1987
Restaurant Table Each with blindstamp credit in the margin. Initialled ‘T.J.H.’ by Timothy J. Hunt of the Andy Warhol Foundation in pencil, estate copyright credit reproduction limitation and date stamps on the verso. gelatin silver print 20.3 x 25.4 cm. (7 7/8 x 10 in.) Executed in 1982, this work is accompanied by a certifcate of authenticity signed in ink by the Andy Warhol Foundation for the Visual Arts, Inc. Provenance The Andy Warhol Foundation for the Visual Arts, Inc., New York Acquired from the above by the present owner Exhibited Melbourne, National Gallery of Victoria; Pittsburgh, The Andy Warhol Museum, Andy Warhol / Ai Weiwei, 11 December 2015 – 11 September 2016 Literature Nicholas Chambers, Michael Frahm and Tony Godfrey, eds., Warhol in China, Germany, 2014, pp. 254-255, 305 (illustrated)
HK$ 20,000-40,000 US$ 2,600-5,100
安迪·沃荷 《餐廳桌子》 銀鹽照片 1982年作，並附藝術家基金會所簽發之保證書。 每張照片邊緣均印有藝術家壓印；背面均印有安迪·沃荷 基金會版權及限量複製及日期印章，並由T.J.H.簽署。 來源 紐約，安迪·沃荷基金會 現藏者購自上述來源 展覽 墨爾本，維多利亞國家美術館； 匹茲堡，安迪·沃荷博物館， 〈安迪·沃荷／艾未未〉， 2015年12月11日至2016年9月11日 出版 Nicholas Chambers、Michael Frahm、 Tony Godfrey 編， 〈沃荷在中國〉，德國，2014年， 第254-255、305頁 (圖版)
195. Yayoi Kusama
b. 1929
Fruit Basket 2 signed, titled, numbered and dated ‘19/60 “Fruit Basket (2) [in Japanese]” 1999 Yayoi Kusama’ lower lef and right respectively glitter on screenprint on wove paper image: 44.7 x 53.8 cm. (17 5/8 x 21 1/8 in.) sheet: 60 x 68 cm. (23 5/8 x 26 3/4 in.) Executed in 1999, this work is number 19 from an edition of 60 plus 6 artist’s proofs. Provenance Private Collection, Asia Acquired from the above by the present owner Literature Yayoi Kusama, All Prints of Kusama Yayoi 1979-2004, Tokyo, 2005, no. 274, p. 144 (another example illustrated)
HK$ 120,000-180,000 US$ 15,400-23,100
草間彌生 《水果籃子2》 閃粉 絲網印刷 紙本 1999年作，共有60版及6版藝術家試作版，此為第19版。 款識：19/60《水果籃子(2) (日文)》1999 Yayoi Kusama (左及右下) 來源 亞洲私人收藏 現藏者購自上述來源 出版 草間彌生著， 〈草間彌生版畫集1979-2004年〉，東京，2005年， 圖版編號274，第144頁 (同系列他版作品)
196. Mel Bochner
b. 1940
Obliterate signed, numbered and dated ‘9/30 MEL BOCHNER 2018’ lower right edge silkscreen 127.1 x 101.6 cm. (50 x 40 in.) Executed in 2018, this work is number 9 from an edition of 30. Provenance Two Palms Press, New York Acquired from the above by the present owner
HK$ 30,000-50,000 US$ 3,800-6,400
梅爾·波切內爾 《毀滅》 絲網版畫 2018年作，共有30版，此為第9版。 款識：9/30 MEL BOCHNER 2018 (右下角) 來源 紐約，Two Palms 出版社 現藏者購自上述來源
197. Keith Haring
1958-1990
Pop Shop III: D (Scissors) signed, numbered and dated ‘184/200 K. Haring 89’ lower right silkscreen prints 33 x 40.6 cm. (12 7/8 x 15 7/8 in.) Executed in 1989, this work is number 184 from an edition of 200 plus 20 artist’s proof, published by Martin Lawrence Editions, Los Angeles. Provenance Martin Lawrence Galleries, New York Acquired from the above by the present owner Literature Klaus Littman, ed., Keith Haring: Editions on Paper 1982-1990, Ostfldern-Ruit, 1993, p. 144 (illustrated)
HK$ 60,000-80,000 US$ 7,700-10,300
凱斯·哈林 《Pop Shop III: D (剪刀)》 絲網版畫 1989年作，共有200版及20版藝術家試作版，此為第184版， 由洛杉磯 Martin Lawrence 畫廊出版。 款識：184/200 K. Haring 89 (右下) 來源 紐約，Martin Lawrence 畫廊 現藏者購自上述來源 出版 Klaus Littman 編， 〈凱斯·哈林:版畫紙本1982-1990年〉， 奧斯特菲爾登，1993年，第144頁（圖版）
198. Keith Haring
1958-1990
Pop Shop III: D (Figures) signed, numbered and dated ‘193/200 K. Haring 89’ lower right silkscreen prints 34 x 41.5 cm. (13 3/8 x 16 3/8 in.) Executed in 1989, this work is number 193 from an edition of 200, published by Martin Lawrence Editions, Los Angeles. Provenance Martin Lawrence Galleries, New York Acquired from the above by the present owner Literature Klaus Littman, ed., Keith Haring: Editions on Paper 1982-1990, Ostfldern-Ruit, 1993, p. 145 (illustrated)
HK$ 80,000-120,000 US$ 10,300-15,400
凱斯·哈林 《Pop Shop III: D (人物)》 絲網版畫 1989年作，共有200版，此為第193版， 由洛杉磯 Martin Lawrence 畫廊出版。 款識：193/200 K. Haring 89 (右下) 來源 紐約，Martin Lawrence 畫廊 現藏者購自上述來源 出版 Klaus Littman 編， 〈凱斯·哈林:版畫紙本1982-1990年〉， 奧斯特菲爾登，1993年，第145頁（圖版）
199. Jonas Wood
喬納斯·伍德
b. 1977
兩件作品: (i) POTS 書冊版; (ii) POTS 書冊版 拼貼 彩色鉛筆 書冊 (i) 2016年作，共有15版, 此為第5版。均為獨一無二版本。 款識：JBRW 2016 5/15 (簽於書內) (ii) 2016年作，此為獨版。 款識：KARISA JBRW 2016 (簽於書內)
Two works: (i) POTS BOOK EDITION; (ii) POTS BOOK EDITION collaged paper and coloured pencil on book each 32.5 x 24.8 x 1.3 cm. (12 3/4 x 9 3/4 x 0 1/ 2 in.) (i) signed with the artist’s initials, numbered and dated ‘JBRW 2016 5/15’ Executed in 2016, this work is number 5 from an edition of 15 unique variants. (ii) signed with the artist’s initials, numbered, dedicated and dated ‘KARISA JBRW 2016’ Executed in 2016, this work is unique.
來源 (i) 紐約，高古軒畫廊 美國私人收藏 現藏者購自上述來源
Provenance (i) Gagosian Gallery, New York Private Collection, USA Acquired from the above by the present owner
(ii) 美國私人收藏 現藏者購自上述來源
(ii) Private Collection, USA Acquired from the above by the present owner
HK$ 50,000-100,000 US$ 6,400-12,800
(i)
(ii)
200. Jonas Wood
b. 1977
FOUR MAJORS each signed with the artist’s initials, dated and numbered ‘JBRW 2018 23/50’ lower right multicolour screenprint on Coventry Rag paper, in 4 parts each 48.3 x 33 cm. (19 x 13 in.) Executed in 2018, this work is number 23 from an edition of 50. Provenance Gagosian Gallery, New York Acquired from the above by the present owner Exhibited New York, Gagosian Gallery, Jonas Wood: Prints, 5 April – 25 May 2018
喬納斯·伍德 《四大滿貫賽》 彩色絲網版畫 紙本（4件） 2018年作，共有50版，此為23版。 款識: JBRW 2018 23/50 (各作品右下) 來源 倫敦，高古軒畫廊 現藏者購自上述來源 展覽 紐約，高古軒畫廊,〈喬納斯·伍德: 版畫〉， 2018年4月5日 - 5月25日
HK$ 300,000-500,000 US$ 38,500-64,100
201. Jonas Wood
b. 1977
Untitled 100% cashmere blanket 220 x 135 cm. (86 5/8 x 53 in.) Executed in 2018, this work is from an edition of 75. Made with Studio Voltaire. Provenance Studio Voltaire, London Acquired from the above by the present owner
HK$ 8,000-12,000 US$ 1,000-1,500
喬納斯·伍德 《無題》 100% 羊絨毯 2018年作，共有75版。與Studio Voltaire共同製作。 來源 倫敦，Studio Voltaire 現藏者購自上述來源
202. David Hockney
b. 1937
Untitled No.23 from “The Yosemite Suite” signed, dated and numbered ‘David Hockney 24/25 ‘10’ lower right iPad drawing printed on paper 81.1 x 60.9 cm. (31 7/8 x 23 7/8 in.) Executed in 2010, this work is number 24 from an edition of 25. Provenance PACE, New York Acquired from the above by the present owner Exhibited San Francisco, de Young Museum, David Hockney: A Bigger Exhibition, 26 October 2013 - 20 January 2014, no. 186, p. 157 (another example exhibited) Melbourne, National Gallery of Victoria, David Hockney: Current, 11 November 2016 - 13 March 2017, no.436, p. 96 (another example exhibited) Palo Alto, PACE, David Hockney: The Yosemite Suite, 29 March - 7 May 2017 (another example exhibited)
HK$ 200,000-400,000 US$ 25,600-51,300
大衛·霍克尼 《無題23（約塞米蒂套房系列）》 iPad繪畫印刷 紙本 2010年作，共有25版，此為第24版。 款識：David Hockney 24/25 ‘10 (右下) 來源 紐約，佩斯畫廊 現藏者購自上述來源 展覽 舊金山，笛洋美術館， 〈大衛·霍克尼：一場更大的展覽〉 ， 2013年10月26日 - 2014年1月20日， 圖版186， 第157頁 (同系列他版展品) 墨爾本，維多利亞國立美術館， 〈大衛·霍克尼：當前〉， 2016年11月11日 - 2017年3月13日，圖版436，第96頁 (同系列他版展品) 帕洛阿爾托，佩斯畫廊， 〈大衛·霍克尼：約塞米蒂套房系列〉 ， 2017年3月29日 - 5月7日 (同系列他版展品)
203. Gerhard Richter
b. 1932
Seven Two Four signed and numbered ‘16/32 Richter’ on the reverse chromogenic print mounted on Alu Dibond image: 73 x 100 cm. (28 3/4 x 39 3/8 in.) framed: 86.4 x 112.4 x 5 cm. (34 x 44 1/4 x 1 7/8 in.) Executed in 2008, this work is number 16 from an edition of 32 plus 8 artist’s proofs, published by Joe Hage, London, contained in a pale wooden frame specifed by the artist. Provenance Private Collection, United Kingdom Acquired from the above by the present owner Literature Hubertus Butin, Stefan Gronert and Thomas Olbricht, eds., Gerhard Richter: Editions 1965-2013, 2014, p. 305, no. 133-b (another example illustrated)
HK$ 200,000-300,000 US$ 25,600-38,500
格哈特·里希特 《七二四》 彩色沖印 裱於鋁合板 2008年作，共有32版及8版藝術家試作版，此作品為第16版，由倫敦， Joe Hage 發行，並裝在畫家指定的木框裏。 款識：16/32 Richter (背面) 來源 英國私人收藏 現藏者購自上述來源 出版 Hubertus Butin、Stefan Gronert、Thomas Olbricht編， 〈格哈特·里希特:版畫1965-2013年〉，2014年，第305頁， 圖錄編號133-b (同系列他版作品)
204. Gerhard Richter
b. 1932
Aladin (P11) This facsimile object is unsigned and numbered 122/500 on the reverse, published by Heni Publishers, London. Diasec mounted chromogenic print on aluminium 37 x 50 cm. (14 5/8 x 19 5/8 in.) Executed in 2010-2014, this work is number 122 from an edition of 500. Provenance Private Collection, United Kingdom Acquired from the above by the present owner Literature Heni Productions Catalogue Number: P11
HK$ 30,000-50,000 US$ 3,800-6,400
格哈特·里希特 《Aladin (P11)》 玻璃鑲裱 彩色沖印 裱於鋁板 2010-2014年作，共有500版，此作品為第122版， 並由倫敦，Heni Publishers 發行。 來源 英國私人收藏 現藏者購自上述來源 出版 Heni Productions 圖錄編號: P11
Property from an Important Private Hong Kong Collection
205. Jef Koons
b. 1955
Balloon Dog (Blue) porcelain with metallic fnish 26 x 26 x 12.5 cm. (10 1/4 x 10 1/4 x 4 7/8 in.) Executed in 2002, this work is number 1475 from an edition of 2300. Provenance Private Collection, Asia
HK$ 65,000-85,000 US$ 8,300-10,900
重要香港私人收藏
杰夫·昆斯 《氣球狗(藍色）》 瓷 金屬 2001年作，共有2300版，此作為第1475版。 來源 亞洲私人收藏
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206. KAWS
b. 1974
SEEING signed and dated ‘KAWS..18’; further incised with the artist’s name, title, number and date ‘ “SEEING” 093/250 ©KAWS..18’ on the underside alloy, ceramic, LED light and mixed media 37 x 17.4 x 18.6 cm. (14 5/8 x 6 7/8 x 7 3/8 in.) Executed in 2018, this work is number 93 from an edition of 250, and is accompanied by an authenticity and ID card issued by AllRightsReserved Hong Kong, all contained in the original wooden box. Provenance Private Collection, New York Acquired from the above by the present owner
HK$ 250,000-350,000 US$ 32,100-44,900
KAWS 《SEEING》 合金 陶瓷 LED 綜合媒介 2018年作，共有250版，此為第93版，並付AllRightsReserved 所發之保證卡及原裝木箱。 款識: KAWS..18 (簽於底部);《SEEING》 093/250 ©KAWS..18 (印於底部) 來源 紐約私人收藏 現藏者購自上述來源
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207. KAWS x Hajime Sorayama
b. 1974 & b. 1947
NO FUTURE COMPANION (Silver Chrome) signed and numbered ‘KAWS..Sorayama AP’ on a metal OriginalFake label on the underside silver chrome coated metal 31.5 x 21.2 x 19.6 cm. (12 3/8 x 8 3/8 x 7 3/4 in.) Executed in 2008, this work is an artist proof from an edition of 500. Provenance Private Collection, USA Literature Monica Ramirez-Montagut, KAWS 1993-2010, New York, 2010, p. 234, (another example illustrated)
KAWS x 空山基 《沒有未來的伴侶（銀鉻）》 鍍銀鉻 金屬 2008年作, 共有500版, 此為藝術家藏版。 款識: KAWS..Sorayama AP (底部鐵 OriginalFake 標籤) 來源 美國私人收藏 出版 Monica Ramirez-Montagut著， 〈KAWS 1993-2010〉，紐約，2010年， 第234頁（同系列作品圖版）
HK$ 40,000-60,000 US$ 5,100-7,700
208. KAWS
b. 1974
YOU SHOULD KNOW I KNOW signed, numbered and dated ‘AP 19/50 KAWS.. 15’ lower lef and right respectively screenprint 94.5 x 81.1 cm. (37 1/4 x 31 7/8 in.) Executed in 2015, this work is artist proof 19 from an edition of 250 plus 50 artist’s proofs. Provenance Carmichael Gallery, Los Angeles Private Collection, Canada Acquired from the above by the current owner
HK$ 100,000-150,000 US$ 12,800-19,200
KAWS 《你應該知道我知道》 絲網版畫 2015年作, 共有250版及50版藝術家試作版, 此為第19藝術家試作版。 款識：AP 19/50 KAWS.. 15 (左及右下) 來源 洛杉磯，Carmichael 畫廊 加拿大私人收藏 現藏者購自上述來源
209. KAWS
b. 1974
Ten Works: UPS AND DOWNS each signed, dated and numbered ‘28/100 KAWS.. 13’ lower lef and right respectively screenprints each 88.9 x 58.2 cm. (35 x 22 7/8 in.) Executed in 2013, these works are number 28 from an edition of 100 plus 20 artist's proofs, and is accompanied by its original fabric-covered portfolio. Provenance Private Collection, New York Private Collection, Hong Kong Acquired from the above by the present owner
KAWS 十件作品： 《起伏》 絲網版畫 2013年作，共有100版及20版藝術家試作版，此為第28版， 並附原裝黑色布面盒。 款識：28/100 KAWS.. 13 (各件左及右下) 來源 紐約私人收藏 香港私人收藏 現藏者購自上述來源
HK$ 500,000-700,000 US$ 64,100-89,700
210. KAWS
b. 1974
THE NEWS each signed, numbered and titled ‘AP 11/20 KAWS..17’ along the bottom edge screenprint each diameter 61 cm. (24 in.) Executed in 2018, this work is artist proof 11 from an edition of 100 plus 20 artist’s proofs. Provenance Private Collection, USA Acquired from the above by the present owner
KAWS 《新聞》 絲網版畫 2018年作，共有100版及20藝術家試作版， 此為第11藝術家試作版。 款識：AP 11/20 KAWS..17 (每件於下邊緣) 來源 美國私人收藏 現藏者購自上述來源
HK$ 400,000-600,000 US$ 51,300-76,900
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211. KAWS
b. 1974
FOUR FOOT COMPANION (Brown) stamped with the artist’s name and date ‘© KAWS..07’ on the underside of the fgure’s right foot; further stamped with the date and fabricator ‘MEDICOM TOY 2007 MADE IN CHINA’ on the underside of the fgure’s lef foot painted cast vinyl 128.2 x 57 x 35 cm. (50 1/ 2 x 22 1/ 2 x 13 3/4 in.) Executed in 2007, this work is from an edition of 100 and is accompanied with its original box. Provenance Toy Tokyo, New York Acquired from the above by the present owner
KAWS 《四尺同伴 (棕色)》 纖維強化塑膠 2007年作 ，共有100版，並附原裝盒。 款識：© KAWS..07 (同伴右腳底部)、 MEDICOM TOY 2007 MADE IN CHINA (同伴左腳底部) 來源 紐約，Toy Tokyo 現藏者購自上述來源
HK$ 500,000-700,000 US$ 64,100-89,700
Ж
212. KAWS
b. 1974
FOUR FOOT COMPANION (Black) stamped with the artist’s name and date ‘© KAWS..07’ on the underside of the fgure’s right foot; further stamped with the date and fabricator ‘MEDICOM TOY 2007 MADE IN CHINA’ on the underside of the fgure’s lef foot painted cast vinyl 128.2 x 57 x 35 cm. (50 1/ 2 x 22 1/ 2 x 13 3/4 in.) Executed in 2007, this work is from an edition of 100 and is accompanied with its original box. Provenance Toy Tokyo, New York Acquired from the above by the present owner
KAWS 《四尺同伴 (黑色)》 纖維強化塑膠 2007年作 ，共有100版，並附原裝盒。 款識：© KAWS..07 (同伴右腳底部)、 MEDICOM TOY 2007 MADE IN CHINA (同伴左腳底部) 來源 紐約，Toy Tokyo 現藏者購自上述來源
HK$ 500,000-700,000 US$ 64,100-89,700
Ж
213. KAWS
b. 1974
FOUR FOOT DISSECTED COMPANION (Black) stamped with the artist’s name and date ‘© KAWS..09’ on the underside of the fgure’s right foot; further stamped with the date and fabricator ‘MEDICOM TOY 2009 MADE IN CHINA’ on the underside of the fgure’s lef foot painted cast vinyl 128.2 x 57 x 35 cm. (50 1/ 2 x 22 1/ 2 x 13 3/4 in.) Executed in 2009, this work is from an edition of 100 and is accompanied with the original box and hologram card from OriginalFake. Provenance Toy Tokyo, New York Acquired from the above by the present owner in 2010
KAWS 《四尺解剖同伴 (黑色)》 纖維強化塑膠 2009年作，共有100版，並附原裝盒及OriginalFake之全息圖卡。 款識：© KAWS..09 (同伴右腳底部)、 MEDICOM TOY 2009 MADE IN CHINA (同伴左腳底部) 來源 紐約，Toy Tokyo 現藏者於2010年購自上述來源
HK$ 500,000-800,000 US$ 64,100-103,000
Ж
214. KAWS
b. 1974
FOUR FOOT DISSECTED COMPANION (Grey) stamped with the artist’s name and date ‘© KAWS..09’ on the underside of the fgure’s right foot; further stamped with the date and fabricator ‘MEDICOM TOY 2009 MADE IN CHINA’ on the underside of the fgure’s lef foot painted cast vinyl 128.2 x 57 x 35 cm. (50 1/ 2 x 22 1/ 2 x 13 3/4 in.) Executed in 2009, this work is from an edition of 100 and is accompanied with the original box and hologram card from OriginalFake. Provenance Toy Tokyo, New York Acquired from the above by the present owner in 2010
KAWS 《四尺解剖同伴 (灰色)》 纖維強化塑膠 2009年作，共有100版，並附原裝盒及OriginalFake之全息圖卡。 款識：© KAWS..09 (同伴右腳底部)、 MEDICOM TOY 2009 MADE IN CHINA (同伴左腳底部) 來源 紐約，Toy Tokyo 現藏者於2010年購自上述來源
HK$ 500,000-800,000 US$ 64,100-103,000
Guide for Prospective Buyers Buying at Auction The following pages are designed to ofer you information on how to buy at auction at Phillips. Our staf will be happy to assist you. Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller. Bidders should also read the Important Notices immediately following this Guide for Prospective Buyers. Buyer’s Premium Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$3,000,000, 20% of the portion of the hammer price above HK$3,000,000 up to and including HK$30,000,000 and 13.5% of the portion of the hammer price above HK$30,000,000. The purchase price payable for any lot is the sum of the hammer price plus the buyer’s premium plus any applicable taxes and charges. 1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +852 2318 2000, +41 22 317 8181, +44 20 7318 4010 or +1 212 940 1240. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate upon Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in Hong Kong dollars, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of the property, as well as the exhibition history and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the
identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property. While condition reports are prepared honestly and carefully, our staf are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of signifcant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verifed and approved by a qualifed electrician. Deposit If you wish to bid on a lot designated with the symbol * (a “Premium Lot”), Phillips may require you to pay a deposit of HK$2,000,000 or such higher amount as Phillips in our sole discretion deems appropriate and to provide such fnancial references, guarantees and/or other security as Phillips may require in our sole discretion as security for the bid. Phillips will also require you to complete the Premium Lot pre-registration prior to the date of the auction at which the Premium Lot will be ofered for sale. Upon our receipt of the deposit and a completed pre-registration form, Phillips will provide you with a numbered Premium Lot paddle for identifcation purposes. The auctioneer will usually only accept bids on Premium Lots made with the Premium Lot paddle or by its registered bidder. This applies to saleroom, telephone and absentee bids. Payment of the deposit may be made by wire transfer or credit card acceptable to Phillips for the prospective purchase. If you are not the successful bidder on a Premium Lot and do not owe Phillips or any of our afliated companies any debt, the deposit will be refunded to you by wire transfer (in the same currency in which you paid the deposit) or credit card
refund, as the case may be, the refund will be processed within seven days afer the date of the auction. Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. If there are competing bidders third party guarantors may also bid above any written bid.
In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the lot. Δ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.
•
No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. Ж Property subject to US Import Tarifs
Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.
∑ Endangered Species Lots with this symbol have been identifed at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. * Premium Lots Lots with this symbol carry a low pre-sale estimate of HK$8,000,000 or more and are referred to by Phillips as Premium Lots. Prospective buyers who wish to bid on Premium Lots must complete the pre-registration form and pay the Premium Lot deposit, as described more fully in this Paragraph 1 of the Guide for Prospective Buyers. ▼ Restricted Importation Lots with this symbol may be subject to importation restriction in the US. Please refer to the Important Notices which appear in this catalogue immediately following this Guide for Prospective Buyers. 2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identifcation may be required, as may an original signature. We may also require that you furnish us with a bank reference. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staf members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least HK$8,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium, which we can execute on your behalf in the event we are unable to reach you by telephone. To arrange a telephone bid please contact the Hong Kong bids department at +852 2318 2029. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on
our website at www.phillips.com.The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe Flash Player. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the Auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. HK$1,000 to HK$2,000 HK$2,000 to HK$3,000 HK$3,000 to HK$5,000
HK$5,000 to HK$10,000 HK$10,000 to HK$20,000 HK$20,000 to HK$30,000 HK$30,000 to HK$50,000 HK$5,000, HK$8,000 HK$50,000 to HK$100,000 HK$100,000 to HK$200,000 HK$200,000 to HK$300,000 HK$300,000 to HK$500,000
HK$500,000 to HK$1,000,000 Above HK$1,000,000
by HK$100s by HK$200s by HK$200, 500, 800 (i.e., HK$4,200, HK$4,500, HK$4,800) by HK$500s by HK$1,000s by HK$2,000s by HK$2,000, by HK$5,000s by HK$10,000s by HK$20,000s by HK$20,000, 50,000, 80,000 (i.e., HK$320,000, HK$350,000, HK$380,000) by HK$50,000s at the auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at his or her own discretion. 3 The Auction As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the benefciary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. 4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale. Payment must be made in Hong Kong dollars by wire transfer, as noted in Paragraph 6 of the Conditions of Sale. Cash and cheques are not accepted. Credit Cards As a courtesy to clients, Phillips accepts payment by credit card up to HK$800,000. A processing fee will apply. For details on credit card payment please contact the Client Services department at +852 2318 2000. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots.
Important Notices Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction. Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licences Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from Hong Kong or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certifcate prior to exportation and additional licences or certifcates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certifcate does not ensure the ability to obtain an import licence or certifcate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certifcates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis regarding continent of origin and confrmation the object is more than 100 years old. We have not obtained a scientifc analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientifc analysis or other report required in connection with their proposed import of such property into the US.
With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the object qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.
Premium Lots Any prospective buyer interested in any Premium Lot, which is marked in the catalogue with the symbol *, must complete Premium Lot pre-registration and make a deposit of HK$2,000,000 or such higher amount as Phillips shall require in order to bid on a Premium Lot. For details, please contact the Client Services Department at +852 2318 2000.
Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the Important Notices immediately following the Guide for Prospective Buyers and the Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is ofered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company afliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an afliated company may have a legal, benefcial or fnancial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.
(a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.
(b) Each lot ofered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfed themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identifcation purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our afliated companies shall be liable for any diference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least HK$8,000. Phillips reserves the right to require written confrmation of a successful bid from a telephone
bidder by fax or otherwise immediately afer such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are fnal and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘foor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘foor’ or ‘phone’ bid are identical, the ‘foor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal, state or other antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (h) Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.
5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is ofered subject to a reserve, which is the confdential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-ofer a lot for sale (including afer the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in Hong Kong dollars and payment is due in Hong Kong dollars. For the beneft of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will refect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.
6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable taxes and charges (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including HK$3,000,000, 20% of the portion of the hammer price above HK$3,000,000 up to and including HK$30,000,000 and 13.5% of the portion of the hammer price above HK$30,000,000. (b) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in Hong Kong dollars by wire transfer in accordance with the bank transfer details provided on the invoice for purchased lots. (c) As a courtesy to clients, Phillips will accept American Express, Visa and MasterCard to pay for invoices of HK$800,000 or less. A processing fee will apply. (d) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identifcation has been provided, and any earlier release does not afect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our afliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed all of the foregoing conditions, he or she should contact us at +852 2318 2000 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. Afer the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days afer the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping
of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identifcation prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of HK$80 per day for each uncollected lot. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our afliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notifcation of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our afliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated companies may owe the buyer in any other transactions;
(ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notifcation by any of our afliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notifcation by any of our afliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an afliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our afliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 14 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale. 11 Export, Import And Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from Hong Kong or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits
the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12. US Import Tarifs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol lots which may be subject to additional US import tarifs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking. Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf by Phillips. Please contact the department organising the auction for further details. 13 Personal Data (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com.
(b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues may be subject to CCTV video surveillance and recording and your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded. Where we record such information we will process it in accordance with our Privacy Policy. 14 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our afliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our afliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our afliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our afliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and ftness for purpose, are specifcally excluded by Phillips, our afliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our afliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our afliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.
Authorship Warranty 15 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 16 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specifed at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notifed by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and efect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) If there is any inconsistency or confict between the English text of the Conditions of Sale, Guide for Prospective Buyers and/or Important Notices and their Chinese translations, the English text will prevail. 17 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with Hong Kong law. (b) For the beneft of Phillips, all bidders and sellers agree that the courts of Hong Kong are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the courts of Hong Kong. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by Hong Kong law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.
Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of fve years from date of sale by Phillips, subject to the exclusions and limitations set forth below and the Important Notices set out in this catalogue immediately following the Guide for Prospective Buyers. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientifc methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the salesroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our afliated companies and the seller and is in lieu of any other
remedy available as a matter of law or equity. This means that none of Phillips, any of our afliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.
Please return this form by fax to +852 2318 2010 or email it to bidshongkong@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying to bid as an individual or on behalf of a company.
In-person Absentee Bidding Telephone Bidding
Paddle Number
As a private individual On behalf of a company Sale Number First Name
Sale Date
Surname
Address
City
• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.
State/Country
Post Code Phone
Mobile
Fax
• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. • If we receive identical bids, the first bid received will take precedence.
Phone number to call at the time of sale (for Phone Bidding only) 1.
• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded.
2.
Language to be used (for Phone Bidding only) Please complete the following section for telephone and absentee bids only Lot number In Consecutive Order
Brief description
• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including HK$3,000,000, 20% of the portion of the hammer price above HK$3,000,000 up to and including HK$30,000,000 and 13.5% of the portion of the hammer price above HK$30,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.
Account Number
Company (if applicable)
• CONDITIONS OF SALE All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale. • If you cannot attend the sale, we can execute bids confidentially on your behalf.
Please indicate in what capacity you will be bidding (please select one):
Title
• PRIVATE PURCHASES Proof of identity in the form of governmentissued identification and proof of address will be required. • COMPANY PURCHASES If you are buying under a business entity, we require a copy of government-issued identification (such as the certificate of incorporation) as well as proof of owners and directors to verify the status of the company.
Please select the type of bid you wish to make with this form (please select one):
Sale Title
14/F St. George’s Buidling, 2 Ice House Street, Central, Hong Kong
Maximum bid price in HK$* Absentee Bids Only
• Please submit your bids to the Bid Department by email to bidshongkong@phillips.com or by fax at +852 2318 2010 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone, please call +852 2318 2029.. • Payment for lots can be made by credit card (up to HK$800,000) or by wire transfer. Please note that credit cards are subject to a surcharge. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillips’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.
* Excluding Buyer’s Premium
Signature
Date
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準買家指引 拍賣現場購買 以下指引有助閣下了解如何在富藝斯拍賣會上購買拍品，本公 司職員將竭誠為您服務。 業務規定 拍賣會乃根據圖錄末段所載之業務規定及著作保證而運作。 競投者請務必細閱業務規定及著作保證以了解本公司與賣家 及買家之間的法律關係；以及於拍賣會上購買之條款。富藝 斯在一般情況下為賣家之代理人。競投者亦應細閱列印於本 準買家指引後的重要通告。 買家支付之酬金 本公司會按每件拍品成交價向競投成功者收取佣金或買家 支付之酬金。買家應支付酬金費率為：拍賣品成交價首港幣 3,000,000 元之25%，加逾港幣3,000,000 元以上至港幣 30,000,000元部份之20%；加逾港幣30,000,000元之餘款 的13.5%計算。 買家須就每件拍品支付其成交價、買家支付之酬金及任何適 用之稅項及費用。 1 拍賣前 訂購圖錄 如欲購買是次或其他富藝斯拍賣圖 錄，請致電 + 852 2318 2000, +41 22317 8181, +44 20 73184010 , +1 212 940 1240 聯絡我們。 拍賣前估價 拍賣前估價用意為提供指引予準買家。本公司認為任何介乎 於高至低估價範圍之間的競投價皆有成功機會。然而，拍品 亦有可能在低於或高於拍賣前估價拍出。如欲對標示為「估 價待詢」之拍賣品了解更多，請與專家部門聯繫。由於估價可 予修改，因此閣下可於臨近拍賣前聯絡我們。拍賣前估價並 不包括買家支付之酬金或其他適用稅項。 拍賣前估價以美元及歐元為單位 本拍賣會將以港元為競投貨幣，但載於拍賣圖錄內的拍賣前 估價除以港元為單位外，亦或會用美元及或歐元。由於圖錄 中的貨幣兌換率是根據圖錄付印時而非拍賣當日的兌換率而 訂，因此美元或歐元的拍賣前估價只供參考用。 圖錄編列 富藝斯或會在圖錄內刊印有關拍品之出處及過往展覽、引述 於藝術刊物之紀錄。儘管我們以審慎的態度進行編列，但拍 賣品的出處、展覽及文獻或未能詳盡；及在某些情況下我們 或會有意地不揭露物主身份。請注意所有陳述於圖錄內拍賣 品之量度均為約數。 拍賣品之狀況 本公司之圖錄只會在多件型作品 (例如印刷品)的描述中提到 狀況事宜。但該些狀況資料並不等於狀況之完整說明。未有 提及此等狀況資料亦不表示拍品全無缺陷或瑕疵。品狀報告 乃富藝斯為方便買家提供的一項服務。我們的專家以物品估 價相應的方式評估及撰寫品狀報告。雖然我們以真誠及謹慎 的態度撰寫品狀報告，惟本公司職員並非專業修復者或經培 訓之管理人。故我們建議所有準買家應親臨拍賣前展覽並親 自檢查拍品；由於所有品物均於無裝框下出售，除特別註明在 品狀報告上。如拍品出售時有裝框，富藝斯將不會就框架任 何狀況承擔任何責任。如我們售出的拍品沒有裝框，我們樂 意為買家推薦專業的裝框服務。 拍賣前預展 拍賣前預展乃免費並對外公開，我們的專家可於預展或預約 時提供意見及品狀報告。
電子及機械性拍品 所有帶有電子及或機械性能之拍品均只供以其裝飾價值出 售，並不代表可運作。如有特別運作上的用途，其電子系統必 須經認可電子技術人員檢測及通過授權使用。 保證金 如欲競投標有*記號之拍賣品 (高額拍賣品)，富藝斯或要求閣 下交付港幣2,000,000元或其他由富藝斯 決定之更大金額的 保證金及任何財務狀況證明，擔保及/或其他由富藝斯可全權 酌情決定要求的抵押作為參加富藝斯競投的保障。富藝斯亦 會要求閣下於該高額拍賣品拍賣日前完成高額拍賣品預先登 記。當我們確認收到保證金及已填妥之預先登記表格後，閣 下將獲發高額拍賣品競投牌以資識別。拍賣官一般只接受以 高額拍賣品競投牌或其登记競投人士作出之競投。此亦適用 於拍賣現場、電話及書面競投。閣下可以電匯或富藝斯可接 受之信用卡繳付保證金。如閣下未有成功競投高額拍賣品， 於富藝斯或我們任何附屬公司亦無任何欠款，保證金將以電 匯(與閣下繳付保證金時相同之貨幣)或信用卡退還，視乎個 別情形，本公司將安排於拍賣日期後7天內安排退還保證金。 符號圖例 圖錄內提述有關以下符號之意思 O 保證項目 拍賣品標有O符號代表已獲承擔保證最低出售價。在此情況 下，不論拍賣結果如何，該賣家都可收取一筆由富藝斯保證 的最低金額款項。該保證可由富藝斯獨自提供或與第三方共 同提供。 ♦ 第三方保證 在富藝斯同意提供最低出售價保證時，便承擔拍賣品不被賣 出或以低於最低出售價保證的價格賣出所涉及的財政風險。 由於可涉及龐大金額，富藝斯可選擇與第三方分擔有關的財 政風險。第三方會在拍賣進行前承諾分擔有關風險，通常是 以書面形式競投，列明不論有否其他競投都會以一個協議金 額買入拍賣品。在此情況下，第三方擔保人須承擔競投未能 達到最低出售價保證的風險。 若出現其他競投，第三方擔保 人仍可以高於任何書面出價競投。 為換取第三方承保或分 擔有關風險，富藝斯通常會向第三方支付補償金。該補償金 可為一固定費用或拍賣品成交價的一定比例。若該第三方擔 保人競投成功，其必須繳付拍賣品的成交價和買家支付之酬 金，而不會獲得任何補償。 第三方財政權益的披露 富藝斯規定第三方擔保人向接受其建議的任何人士披露其 對拍賣品的財政權益。若您考慮競投涉及第三方保證的拍賣 品及正在接受他人的建議，或若您已要求他人代表您競投， 您必須要求他們確定其是否對拍賣品有財政權益。
Δ 富藝斯擁有業權權益之拍賣品 拍賣品標有Δ符號代表富藝斯擁有該拍賣品之全部或部分業 權，或在拍賣品中擁有相等於業權權益之經濟利益。
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無底價 除非標有•符號，否則所有本圖錄內所載之拍賣品均有底價。 底價是由富藝斯 和賣家共同訂立且機密之價格。拍賣品不會 以低於該價售出。每件拍賣品的底價一般以低估價之一定比 例來定，並且不會高於拍賣前低估價。 Ж 須繳付美國進口關稅的拍賣品 標有這個符號的拍賣品在進口美國時可能需要額外繳付關 稅。請參閱《業務規定》第12段。
∑ 瀕危物種 標有此符號的拍賣品表示在編列圖錄時該拍賣品已確定含有 瀕危或其他受保護野生動物物種並可能受到就有關出口或入 口之限制及可能需要出口及入口許可證。詳情請參閱準買家 指引第4段及業務規定第11段。 * 高額拍賣品 標有此符號的拍賣品其拍賣前低估價為港幣8百萬或以上均 被富藝斯列為高額拍賣品。如欲競投高額拍賣品，準買家必 須填妥預先登記表格及繳付高額拍賣品保證金，詳情請參閱 準買家指引第1段。 ▼ 限制進口 標有此符號的拍賣品或受美國入口限制。詳情請參閱列印於 此準買家指引後的重要通告。 2 拍賣競投 於拍賣會上競投 競投可於拍賣會上由個人親臨舉競投牌進行，亦可透過電 話、網上進行競投或在拍賣前以書面形式參加。請提供政府 發出的身份證明文件及原有簽名。我們或需要閣下提供銀 行證明。 親身競投 親身競投之人士須於拍賣會開始前登記及領取競投牌。我們 建議新客戶於拍賣舉行前至少48小時辦理登記，以便有充足 時間處理閣下之資料。所有售出之拍賣品發票抬頭人均為登 記競投牌之人士及其地址，並不得轉讓至他人及其他地址。 請勿遺失競投牌，如有遺失請立即通知富藝斯職員。拍賣完 結時，請將競投牌交回登記處。 電話競投 如閣下未能出席拍賣會，您可透過電話與本公司通曉多國語 言之職員進行實時競投。此服務須於拍賣會開始前至少24小 時安排，及只適用於拍賣前低估價為港幣8,000元以上之拍 品。電話競投將可被錄音。以電話競投即代表閣下同意其對 話將被錄音。我們建議閣下表明最高競投價(不包括買家支付 之酬金)以便我們在無法以電話聯絡閣下時代您競投。如欲安 排電話競投，請致電香港投標部+852 2318 2029。 網上競投 如閣下未能親自出席拍賣會，您可透過我們於網站www. phillips.com內的實時競投平台進行網上競投。我們建議使用 Google Chrome、Firefox、Opera及Internet Explorer執行網 上拍賣。閣下如欲以Safari運行網上拍賣需先行安裝Adobe Flash Player。於網站內按「拍賣」、「實時拍賣」然後「實時 競投登記」以作預先登記。第一次登記時需先建立帳戶，此 後只需登記個別拍賣即可。閣下須於拍賣前至少24小時作網 上預先登記以便投標部確認。請注意網上競投者或會因企業 防火牆而未能競投。 書面競投 如閣下未能出席拍賣會及參與電話競投，富藝斯樂意代表閣 下進行書面競投。本圖錄末附有競投表格。此服務乃免費並 且保密。投標價必須是以拍賣會當地的貨幣為單位。本公司 之職員將參考底價及其他競投價，盡力以最低價進行競投。 請標明最高競投價(不包括買家支付之酬金) 。無限價競投標 將不獲接納。所有書面競投須於拍賣24小時前收到。倘本公 司就同一項拍賣品收到相同之競價，則最先收到之競價會獲 優先辦理。
重要通告 僱員競投 富藝斯及其附屬公司之僱員，包括拍賣官只可在不知底價 及全面遵守本公司的僱員競投內部規例之情況下進行書面 競投。
信用卡 為方便客戶, 富藝斯可接受以信用卡支付不多於港幣80萬元的 付款。 使用信用卡將會被收取附加費。 如欲了解更多以信用 卡付款詳情, 請聯絡客戶服務部+852 2318 2000。
競投價遞增幅度 競投一般由低於最低估價開始，通常每次喊價之遞增幅度最 高為10%，拍賣官亦可於拍賣時自行決定更改每次喊價增加 之額度。書面競投價若與下列之遞增幅度不一致，將被調低 至下一個喊價幅度。
提取 提取拍賣品時請出示身份證明。富藝斯收到全數結清之貨 款及確認買家在本公司及其附屬公司沒有欠款後，會將拍賣 品交予買家或買家授權之代表。拍賣後所有拍品會被儲存 在外。如欲提取拍品，煩請與我們運輸部聯絡，電話：+852 2318 2000。未能提取的拍品均會被收取有關轉移，利息，儲 存等相關費用。
競投價 1,000-2,000 港元 2,000-3,000港元 3,000-5,000港元 5,000-10,000港元 10,000-20,000港元 20,000-30,000港元 30,000-50,000港元
50,000-100,000港元 100,000-200,000港元 200,000-300,000港元 300,000-500,000港元
500,000-1,000,000港元 1,000,000港元或以上
每次喊價之遞增金額 100港元 200港元 200, 500, 800 港元 (例 4,200, 4,500, 4,800港元) 500港元 1,000港元 2,000港元 2,000, 5,000, 8,000港元 (例 32,000, 35,000, 38,000港元) 5,000港元 10,000港元 20,000港元 20,000, 50,000, 80,000 港元 (例 320,000, 350,000, 380,000港元) 50,000港元 拍賣官自行決定
在拍賣時拍賣官可酌情更改每次增加之額度。 3 拍賣 如上所述，拍賣會受業務規定及保險書所規限，所有準買家 應仔細閱讀。該等業務規定及保證書可經在拍賣會場張貼通 告或由拍賣官作出公佈之方式進行修改。 有利害關係的各方公佈 在某些情況下對拍賣品有直接或間接利害關係的一方可能對 拍賣品作出競投，如出售拍賣品之遺產之受益人或執行者； 拍賣品之聯權共有人或提供或參與保證的一方，富藝斯將會 於拍賣廳內公佈有利害關係的各方可能對拍賣品作出競投。
接連投標及競投；無底價拍賣品 拍賣官可代表賣家為任何拍賣品叫第一口價以開始競投。拍 賣官更可代表賣家以接連投標或競投之方式，就拍賣品作出 競投直至達到底價。就不設底價的拍賣品,除非已有競投,否 則拍賣官一般會以拍品的拍賣前低估價的50%開始拍賣。若 在此價格下並無投標,拍賣官會自行斟酌將價格下降繼續拍 賣,直至有客戶開始競投,然後再由該投標價向上繼續拍賣在 沒有更高叫價的情況下,以書面投標競投無底價拍賣品會以拍 賣前低估價大約50%成交。 但若該投標價低於拍賣前低估 價的50%, 則以該投標價成交。如果無底價拍賣品沒有任何 叫價, 拍賣官會自行決定該拍賣品為流拍。 4 拍賣後 付款 除非與富藝斯於拍賣 前已達成書面安排,否則買家須於拍賣 後即時以港元付款。閣下可依照業務規定第6段所述以電匯 方式付款。現金及支票恕不接納。
損失或損壞 買家請注意富藝斯對拍賣品損失或損壞之責任期限最多為 拍賣後七天。 運輸及付運 作為一項予買家的免費服務，富藝斯只可包裝拍品作手提 用。我們並不會直接提供包裝、處理及付運服務。但我們可 依據閣下之指示與付運代理協調以促成閣下於本公司購買貨 物之包裝、處理及付運。詳情請參閱業務規定第7段。 出口及入口許可證 在競投任何拍賣品前，我們建議準買家對拍賣品先作獨立調 查以確定是否需要以許可證出口香港或進入其他國家。買家 須遵守所有入口及出口之法律及應取得有關的出口或入口許 可證。不獲發任何所需之許可證或執照並不構成取消買賣或 延遲繳付全數貨款之充分理由。 瀕危物種 由植物或動物材料如珊瑚、鱷魚、象牙、鯨骨、巴西玫瑰木、 犀牛角或玳瑁殼，不論其年份、百分比率或價值，均可能須申 領許可證或證書方可入口至美國或其他歐盟以內或外的國 家。請注意能取得出口許可證或證書並不能確保可在另一國 家取得進口許可證或證書，反之亦然。我們建議準買家在競 投前向相關政府查核有關野生動植物進口之規定後再參與 競投。買家須負上所有責任取得任何所需出口或進口許可證 或證書，以及任何其他所需文件。請注意美國禁止入口任何 含有非洲象牙的產品。亞洲象的象牙可被進口到美國，而該 進口必須附有獨立科學分析報告以證明有關物品的起源地 及確認物品的年期已超過一百年。我們在銷售任何藏品前， 均無對藏品進行科學分析，所以無法確認相關藏品的象牙是 來自亞洲及非洲。買家凡購買有關藏品並計畫將有關藏品進 口美國，必須承擔風險並負責支付任何科學分析報告或其他 報告的費用。 有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明 文件鑑定物種及藏品之年期以顯示該藏品為古董。買家須進 行獨立評估以認證藏品上之瀕危物種物料及認證藏品之年 期為不少於一百年。如欲計劃入口藏品到美國的準買家不應 依靠富藝斯 編列於圖錄內藏品上的瀕危物種物料或藏品之年 期及必須諮詢具有專業資格的獨立鑑定者後再參與競投。 請注意我們為方便客戶而在含有可能受管制植物或動物物料 的拍賣品上附加標記，但附加標記時如有任何錯誤或遺漏， 富藝斯恕不承擔任何責任。
高額拍賣品 所有準買家如欲競投任何高額拍賣品(標有*記號之拍賣品)必 須完成高額拍賣品預先登記及交付港幣2,000,000元或其他 由富藝斯 決定之更大金額的保證金。詳情請聯絡客戶服務部 +852 2318 2000。
業務規定 準競投者與買家以及富藝斯與賣家的關係受下面闡述之業務 規定及著作保證所規限。 所有準買家須於參與競投前小心細 閱業務規定, 於準買家指引後的重要通告及著作保證。 1 序言 圖錄內所列拍賣品之銷售及售出均根據(a)業務規定及著作 保證;(b)圖錄其他地方所載之任何附加通知條款, 包括準買 家指引及重要通告及(c)補充本圖錄或其他富藝斯張貼於拍 賣廳內之書面資料, 或由拍賣官於拍賣前作出公佈之方式進 行修改。透過於拍賣中競投, 不論以親身,經代理人,以書面競 投, 以電話或其他方式競投, 競投者和買家均同意接受並遵 守經改變或補充的業務規定及著作保證。該些經改變或補 充的業務規定及著作保證包括富藝斯及賣家與買家合約成 立之條款。 2 富藝斯 作為代理人 除非於本圖錄中或於拍賣時另有說明, 否則富藝斯 作為賣家 的代理人。 在個別情況下富藝斯可能 擁有拍賣品, 在該情況 下以委託人之身份作為賣家行事; 或富藝斯其附屬公司可能 擁有拍賣品, 在該情況下則作為該公司的代理人, 或富藝斯或 其附屬公司可能以抵押債權人或其他身份擁有拍賣品之法 律、實益或財務利益。 3 圖錄說明及拍賣品狀況 拍賣品均受著作保證所限制出售, 如圖錄所述(除非該說明如 上面第1段所述被修改或補充) 及依據以下基礎陳述拍賣品 於拍賣時的狀況。
(a) 富藝斯對各拍賣品之認識部份依賴賣家向其提供之資料, 且富藝斯無法及不會就各拍賣品進行全面盡職審查。 準買家 知悉此事, 並承擔進行檢查及檢驗之責任, 以使滿意彼等可能 感興趣之拍賣品。 儘管如前所述, 富藝斯在圖 錄描述或品狀 報告作出之明示聲明, 應以有關拍賣中有關拍賣品之拍賣官 身份相符之合理審慎態度作出; 以及基於(I)賣家向其提供之 資料; (II)學術及技術知識; 及(III)相關專家普遍接納之意見作 出之明示聲明, 在各情況下應以合理審慎態度作出明示。 (b) 富藝斯提呈拍賣時出售之各拍賣品於拍賣前可供準買家 檢查。 在競投人(鑑於有關拍賣品之性質及價值及競投人之 專業知識而屬合適者,以及代表彼等之獨立專家)已當作在投 標前全面檢驗拍賣品, 並滿意拍賣品之狀況及其描述之準確 性, 富藝斯會接受競投人對拍賣品之投標。 (c)準買家確認眾多拍賣品年代久遠及種類特殊, 意味拍賣品 並非完好無缺。 為方便準買家, 富藝斯或會準備及提供品狀 報告以方便準買家檢查拍賣品用。 圖錄描述及品狀報告在若 干情況下可用作拍賣品某些瑕疵之參考, 但競投人應注意, 拍 賣品可能存在其他在圖錄或品狀報告內並無明確呈視出之瑕 疵。 所有量度皆為約數。 解說只供鑑定用途, 將不能當作為 拍賣品尺寸之精確量度或真實狀況之全部資料。
(d) 提供予準買家有關任何拍賣品之資料包括任何拍賣前預測 (無論為書面或口述)及包括任何圖錄所載之資料、規則及其他 報告、評論或估值, 該等資料並非事實之陳述, 而是富藝斯所 持有之意見之聲明, 故不應依賴任何拍賣前預測作為拍賣品售 價或價值之預測, 且該等資料可由富藝斯不時全權酌情決定修 改。 富藝斯及並附屬公司皆不會為任何拍品拍賣前估價與於 拍賣或轉售所達之實際價錢之間的差距負上任何責任。 4 拍賣會上競投出價 (a) 富藝斯可全權酌情決定拒絕進入拍賣場地或參與拍賣。 所有競投者需於競投前登記競投牌, 並提供富藝斯所需資料 及參考。
(b) 為方便未能親身出席拍賣的競投者, 富藝斯或根據競投者 之指示代其進行書面競投。書面競投者須遞交”書面競投表 格”, 此表格列印於圖錄末部或可向富藝斯索取。 投標價必 須是以拍賣會當地的貨幣為單位。 競投者需清楚標明最高之 投標價 (不包括買家支付之酬金)。拍賣官將不會接受任何沒 有標明最高投標價之書面競投。 本公司之人員將參考底價及 其他競投價，盡力以最低價進行競投。所有書面競投須於拍 賣前24小時收到。 倘本公司就同一項拍賣品收到相同之競 價，則最先收到之競價會獲優先辦理。 (c)電話競投者須遞交”電話競投表格”, 此表格列印於圖錄 末部或可向富藝斯索取。 電話競投只適用於拍賣前低估價最 少達港幣8000元之拍品。富藝斯 保留要求電話競投者以傳真 或其他方式儘快於拍賣官接受其競投後以書面確認成功競投 之權利。電話競投將可被錄音。以電話競投即代表閣下同意 其對話將被錄音。 (d) 競投者可透過富藝斯於網站內www.phillips.com的實時 競投平台進行網上競投。競投者須於拍賣前至少24小時作網 上預先登記。 網上競投須得富藝斯投標部許可及投標部有 酌情權。 如上述第3段, 富藝斯 建 議網上競投者於拍賣前檢 視有興趣競投之拍賣品, 及可要求索取品狀報告。 拍賣中競 投速度或會很迅速。 為確保網上競投者與現場或電話競投 者競投時不處於劣勢, 透過富藝斯 網上 競投平台競投為單一 步驟過程。 透過按下電腦屏幕上的競投鍵, 競投者即遞交一 投標價。 網上競投者確認及同意遞交之投標價為已確實及 任何情況下或不能修改或退回。 於拍賣進行中時, 當有非網 上投標出現時, 該些投標會於網上競投者的電腦屏幕上顯示 為 “現場”投標。 “現場”投標包括拍賣官為保障底價的投 標。倘就同一項拍賣品收到網上競投者及一“現場” 或 “ 電話” 競投者相同之競價，則拍賣官有權自行決定“現場” 投標會獲優先辦理。為方便網上競投者競投, 下一喊價顯示 於投標鍵上, 網上競投者之競投價遞增幅度或會與拍賣官實 際上下一喊價有所不同。 因拍賣官在任何時候可自行決定 或會偏離富藝斯之標準遞增幅度, 但網上競投者或只可以完 整之下一喊價投標。 富藝斯之標準競投價遞增幅度載於準 買家指引。 (e) 不論以親身、書面競投、電話競投或網上方式競投, 當競 投時即代表競投者接受承擔繳付購買價及所有其他適用費用 之責任, 詳情如以下第6(a)段所述。 (f) 不論以親身、書面競投、電話競投或網上方式參與競投, 即代表各準買家代表及保證其或其代理人之投標均不是任何 串通或其他反競爭協議的產生及與聯邦反信任法例一致。 (g) 書面及電話競投是本公司提供予準買家之免費服務，本公 司將盡合理努力代其競投。除了故意瀆職的情況外，本公司 不會對因未能執行書面或電話競投，或在當中出現之任何失 誤或遺漏負任何責任。 (h) 僱員競投 富藝斯及其附屬公司之僱員，包括拍賣官, 只可 在不知底價及全面遵守本公司的僱員競投內部規例之情況下 進行書面競投。 5 拍賣規定 (a) 除非標有•符號, 否則所有拍賣品均有底價限制, 底價是一 富藝斯與賣家達 成協議的保密最低出售價。 該底價不會高於 拍賣前低估價。
(b) 拍賣官可隨時酌情決定拒絕或接受任何競投, 撒回任何 拍賣品, 重新出售拍賣品(包括在落槌後), 以及如遇出錯或爭 議時採取其認為是合適之其他行動。 富藝斯不會為拍賣官之 行動承擔任何責任。 如在拍賣後有任何爭議, 將會以本公司 的拍賣紀錄為確鑿。 拍賣官或會接受富藝斯附屬公司競投者 在不知道該拍賣品之底價的情況下之競投。 (c) 拍賣官會以其認為合適之喊價開始及繼續拍賣。 為保障 所有拍賣品的底價, 拍賣官在不一定表示的情況下, 可代表 賣家以接連投標或競投之方式就拍賣品作出競投直至達到 底價。 就不設底價的拍賣品,除非已有競投,否則拍賣官一般 會以拍賣品的拍賣前低估價的50%開始拍賣。 若在此價格 下並無投標,拍賣官會自行斟酌將價格下降繼續拍賣,直至有 客戶開始競投,然後再由該投標價向上繼續拍賣。 在沒有更 高叫價的情況下, 以書面投標競投無底價拍賣品會以拍賣前 低估價大約50%成交。 但若該投標價低於拍賣前低估價的 50%, 則以該投標價成交。如果無底價拍賣品沒有任何叫價, 拍賣官會自行決定該拍賣品為流拍。 (d) 本拍賣會以港元進行拍賣及須以港元繳款。 為方便海外 客人, 圖錄內之拍賣前估價或會用美元及或歐元, 及會反映大 概兌換率。 因此, 美元或歐元的估價只供參考用。為方便競 投者, 本公司於拍賣會上或使用貨幣兌換顯示板, 富藝斯 不會 為任何貨幣兌換計算出現錯誤承擔任何責任。 (e) 在拍賣官之酌情下, 其出價最高且被拍賣官接受的競投者 將為買家, 下槌則顯示最高競投價之被接受, 亦表示賣家與買 家之間的拍賣合約之訂立。 拍賣品之風險及責任將如載於以 下第7段轉移到買家。 (f) 如拍賣品沒有售出, 拍賣官會宣佈該拍賣品為”流拍”, “ 撤回”, “送回賣家”。 (g) 任何於拍賣會後的拍品買賣均受業務規定及著作保證所 限制, 如同拍品於拍賣會中出售。 6 購買價及付款 (a) 買家同意支付本公司每件拍賣品之成交價，買家應支付 本公司酬金及所有適用稅項及費用。買家應支付酬金費率 為：拍賣品成交價首港幣3,000,000元之25%，加逾港幣 3,000,000元以上至港幣30,000,000元部份之20%；加逾港 幣30,000,000元之餘款的13.5%計算。富藝斯保留用酬金支 付介紹佣金予一個或多個協助拍品於拍賣會中售出的第三 方之權利。 (b) 除非另有協議, 否則買家須於拍賣後立即繳款, 與有任何 意圖獲得該拍賣出口或進口許可證或其他執照無關。 付款 須由發票抬頭人,以港元及按照發票上之詳細銀行資料以電 匯方式支付。 (c) 為方便客戶, 富藝斯將 接受以美國運通卡, Visa及萬事達卡 繳付最多港幣80萬元之發票。 使用信用卡將被收取附加費。 (d) 所購拍賣品之擁有權將於富藝斯 全數收取後方可轉移。 富藝斯概無責任將拍賣品交給買家直至拍賣品之擁有權已轉 移, 且已獲提供適當確認而提早交付不會影響擁有權之轉移 或買家支付買入價之無條件責任。 7 提取拍賣品 (a) 富藝斯直至確認全數收取及買家於富藝斯或其附屬公司 沒有欠款, 包括任何根據以下第8(a)段所述需繳之任何費用; 及我們滿意買家所需其他條款(包括完成反洗黑錢或反恐怖 主義之財務審查後, 會將拍賣品交予買家。
(b) 買家須於拍賣後7天內安排提取拍賣品。 拍賣後所有拍 品會被儲存在外。如欲提取拍品，煩請與我們運輸部聯絡， 電話：+852 2318 2000。未能提取的拍品均會被收取有關轉 移，利息，儲存等相關費用。已買之拍賣品之風險,包括投保 責任由買家承擔, 由(I) 領取; 或(II) 拍賣會後7天, 以較早日期 為準。 直到風險轉移, 富藝斯 將就拍賣品之任何損失或損毀 向買家支付賠償, 惟以所付之買入價為最高限額,並受我們一 般損失或損毀拍賣品安排所限制。 (c) 為方便客戶，富藝斯可在不另收費下, 包裝拍賣品作手提 用。我們並不會提供包裝、處理、保險及付運服務。我們可依 據買家之指示與付運代理(不論是否由富藝斯所建 議)協調及 促成閣下於本公司購買貨物之包裝、處理、保險及付運於富 藝斯所購的拍賣品。買家須承擔所有任何指示之風險及責任, 本公司將不會負責或承擔其他的包裝員或運送員之行為及遺 漏引致的任何責任。 (d) 富藝斯在將拍賣品交予買家或買家之授權於代表前, 要求 出示政府發出之身份證明。 8 未提取拍品 (a)倘買家支付全數但未有於拍賣會後30天內提取拍賣品, 買 家將會被收取逾期提取費用。 每年未提取的拍品費用為每 天港幣80元。 我們在全數收到該些費用後方會將拍賣品交 予買家。 (b) 倘已繳付拍品, 但未於拍賣會後6個月內提取該拍品, 則 買家授權富藝斯(經 通知後) 安排以拍賣或私人出售以重售 該物品, 而估價及底價將由富藝斯酌情決定。 除非買家在該 拍賣會後兩年內收取該出售之所得款項扣除存倉費及任何 其他買家欠富藝斯或其附屬公司之所有費用, 否則該筆款項 將被沒收。 9 欠繳款之補償方法 (a) 在不影響賣家可能擁有之任何權利之情況下, 倘買家在未 預先協定之情況下未能在拍賣會後7天內悉數繳付拍賣品購 入價, 富藝斯可全權決定行使以下一項或多項補救方法: (i) 將 拍賣品貯存在其處所或其他地方, 風險及費用完全由買家承 擔; (ii) 取消該拍賣品之銷售, 保留購入價任何部分繳款作為 違約金; (iii) 拒絕買家未來作出之競投或使其就未來之競投 須支付保證金; (iv) 收取由到期日至悉數收取買入價當日期間 按每年12%之利率計算之利息; (v) 對買家由富藝斯所管有之 任何物品行使留置權及指示富藝斯附屬公司對其管有買家之 任何物品行使留置權。 在知會買家後, 並在發出該通知之30 天後可安排出售該物品, 以及將所得款項用以支付結欠富藝 斯或其附屬公司扣除本公司標準賣家佣金, 所有其他有關費 用及任何適用稅項; (vi) 以拍賣或私人出售重售該拍賣品, 而 估價及底價將由富藝斯 合理地酌情決定。 倘該重售之價格低 於該拍賣品之成交價及買家應支持之酬金, 買家將仍須承擔 該差額, 連同該重售產生之所有費用。 (vii) 展開法律訴訟, 以 收回該拍賣品之成交價及買家應支持之酬金, 連同利息及該 訴訟之費用; (viii) 以富藝斯或其附屬公司結欠買家之任何金 額抵消買家就拍賣品結欠富藝斯之任何金額; (ix) 向賣家透露 買家之名稱及地址, 使賣家可展開法律訴訟, 以收回欠款及申 索法律費用; 或(x)採取本公司認為適當及需要之任何行動。 (b) 在收到富藝斯附屬公司通知買家未能付款後, 即買家不可 撤銷授權富藝斯對買家所管有之任何物品行使留置權。 富藝 斯會通知買家有關行使留置權。 在收到富藝斯附屬公司通知 買家未能付款後,買家亦不可撤銷授權富藝斯 抵押買家被管 有的物品以支持任何欠款。 如買家之物品被送往有關公司進 行抵押, 富藝斯將會告知買家。
(c) 如買家未能繳付款項, 買家不可撤銷已授權富藝斯指示其 附屬公司將買家被管有的物品以買家代理人之身份交予富藝 斯指定的第三方作購入價及任何其他欠款之典當或抵押。 此 項安排將於以書面通知買家後不少於30天進行, 出售物品以 所獲得的出售金額(扣除出售之標準賣家佣金及其他有關費 用及任何適用稅項)支付富藝斯或其附屬公司。 10 決定撤銷 富藝斯有權撤銷拍賣及沒有義務通知買家, 如本公司有理由 相信賣家與著作保證之間涉及違約或有第三方欲以不良意圖 索償。 當富藝斯 決定撤銷拍賣及通知買家後, 買家應儘快將 拍賣品退回富藝斯, 而本公司會退還我們所收的購入價。 如 以下第14段所述, 退還款項應為買家唯一的補償及向富藝斯 與賣家對手段撤銷拍賣的追索。 11 出口,入口及瀕危物種許可證及執照 在競投任何拍賣品前，準買家應對拍賣品先作獨立調查以確 定是否需要以許可證出口香港或進入其他國家。準買家應注 意某些國家禁止入口含有由植物或動物材料如珊瑚、鱷魚、 象牙、鯨骨、巴西玫瑰木、犀牛角或玳瑁殼的物品，不論其年 份、百分比率或價值。 同樣, 在競投任何拍賣品前, 準買家如 欲將購得之拍賣品出口亦應查核並了解有關國家之出口及 入口限制。 請注意美國禁止入口任何含有非洲象牙的產品。 亞洲象的象牙可被進口到美國，而該進口必須附有獨立科學 分析報告以證明有關物品的起源地及確認物品的年期已超 過一百年。 有關任何含有象牙以外的瀕危物種藏品，進口者須提供證明 文件鑑定物種及藏品之年期以顯示該藏品為古董。買家須進 行獨立評估以認證藏品上之瀕危物種物料及認證藏品之年 期為不少於一百年。如欲計畫入口藏品到美國的準買家不應 依靠富藝斯 編列於圖錄內藏品上的瀕危物種物料或藏品之年 期及必須諮詢具有專業資格的獨立鑑定者後再參與競投。 買家須承擔責任及遵守所有入口及出口之法例及應取得所需 的的出口,入口及瀕危物種的許可證及執照。不獲發或延遲獲 發任何所需之許可證或執照並非取消銷售或延遲繳付全數 貨款之充分理由。請注意我們為方便客戶而在含有可能受管 制植物或動物物料的拍賣品上附加標記，但附加標記時如有 任何錯誤或遺漏，富藝斯恕不承擔任何責任。
(b) 我們的私隱條例闡述：(i) 本公司將會或可能收集及處 理的個人資料類別；(ii) 本公司將會或可能收集及處理閣下 個人資料的目的；(iii) 本公司處理閣下個人資料的法律依 據；(iv) 閣下對本公司處理你個人資料的權利；及(v) 適用法 律要求的各項其他資訊。 (c) 富藝斯可能會對其物業、銷售及展覽範圍內進行錄影監 控，閣下與富藝斯之間的溝通包括電話和網上對話（如電話 和網上競投）亦會被記錄。本公司將根據私隱條例記錄和處 理此等資料。 14 法律責任限制 (a) 根據以下(e)段, 富藝斯, 其附屬公司之所有法律責任及賣 家與買家在拍賣品銷售關係乃受買家實際所付的購入價限 制。 (b) 除非在此第14段所提及, 富藝斯, 其附屬公司或賣家均無 須(I)負上任何錯誤或遺漏之責任, 不論是以口述或書面, 富藝 斯或其附屬公司提供予準買家之資訊或(II) 富藝斯或其附屬 公司在有關於拍賣行為或對任何其他有關拍賣品銷售因處理 或遺漏, 不論疏忽或其他原因而對任何競投者承擔。 (c) 除著作保證以外的保證, 明示或暗示, 包括品質滿意和適 用性保證, 均被富藝斯, 其附屬公司或賣家在法律允許的最大 範圍內所排除。 (d) 根據以下(e)段, 富藝斯, 其附屬公司或賣家均無須對於上 段(a)提及買家除退款外之任何損失或損害負責。 不論該損 失或損害為直接, 間接, 特別, 附帶的或後果, 或在法律允許的 最大範圍內用以支持購入價之利息。 (e) 在業務規定沒有規管的應被視為排除或限制富藝斯 或其 附屬公司對買家負上因我們之疏忽對死亡或受傷所造成的任 何欺詐或虛假陳述的責任。 15 版權 所有由富藝斯或為富藝斯在圖 錄中與拍賣品有關之製作的一 切影象, 圖標與書面材料之版權, 無論何時均屬富藝斯財產。 未經本公司事先書面同意, 買家或任何人均不得使用。 富藝 斯及賣家均沒有陳述或保證買家就投得的拍賣品取得任何拍 賣品或其他複製的權利。
12 美國進口關稅 有意把拍賣品進口美國的買家必須注意，美國海關可能在進 口 (i) 在中國大陸製造或創作的產品及(ii) 於英國或德國印製 的印刷材料（包括相片、印刷品、平版印刷、書籍及設計）時 徵收額外的進口稅。 在富藝斯知情下，我們將在需要額外繳付美國進口關稅的拍 賣品上標示符號。然而，請注意：我們標示這些符號只是為了 方便準買家。富藝斯概不就任何錯誤負責，包括未能準確標 示拍賣品或未有作出任何標示。 買家必須注意，他們有責任為所付運或由富藝斯代其付運的 拍賣品支付所有與出口及進口相關的費用、關稅與稅款。 如要了解詳情，請聯絡拍賣會的主辦單位。 13 資料保障 (a) 閣下同意並了解，我們可能會根據公司的私隱條例隨時 處理你的個人資料（包括可能被歸納為敏感性個人資料） 。我們的私隱條例刊載於www.phillips.com， 或可電郵至 dataprotection@phillips.com 索取副本。
16 一般資料 (a) 該此業務規定(於上述第1段所改變或補充)及保證造成各 方對交易之預期及取代所有之前及當時的書面, 口頭或暗示 之理解, 說明和協議。 (b) 給予富藝斯之 通知應以書面形式發出, 註明拍賣之負責部 門及銷售圖錄開端指定之參考號碼。 給予富藝斯客戶之 通知 應以彼等正式通知富藝斯之 最新地址為收件地址。 (c)未經富藝斯書面同意前, 任何買家不得轉讓該等業務規定, 但對買家之繼承人, 承付人及遺產執行人具有約束力。 (d) 倘因任何理由無法執行該等業務規定之任何條文, 則餘 下條文應仍然具有十足效力及作用。 任何一方行使, 或沒有 延遲行使, 在該等業務規定任何權利或補救可作免除或釋放 全部或部分。
17 法例及司法權 (a) 該等業務規定及保證之權利及義務,及其有關或適用之所 有事宜須受香港法律規管並按其詮釋。 (b) 就富藝斯之利益而言, 所有競投者及賣家同意香港法院擁 有專有司法權, 調解所有因與該等業務規定及著作保證有關 或適用之所有事宜或交易之各方面而產生之紛爭。 各方均同 意富藝斯將保留權利在香港法院以外之任何法院提出訴訟。 (c) 所有競投者及賣家不可撤回同意透過傳真, 親身, 郵寄或 香港法例, 送達地點之法例或提出訴訟之司法權區之法例允 許之其他方式, 將有關任何法院訴訟之法律程序文件或任何 其他文件送發至買家或賣家知會富藝斯之最新地址。
著作保證 富藝斯 保證在拍賣日起的5年期間為圖錄內用粗體或大楷標 題之物品保證了著作權。 保證受以下及本圖錄所載末準買家 指引後的重要通告所排除及限制。 (a) 富藝斯對任何拍賣品只給予原來 紀錄之買家(即登記成功 拍賣之競投人)保證著作權。此保證著作權並不伸延至(i) 物 品其後的擁有人, 包括買家或收件人以禮物形式由原來買家, 後代, 繼承人, 受益人及指定人送出; (ii) 圖錄內對物品的描述 與物品著作有意見上的矛盾; (iii) 我們於拍賣日歸納著作與 專家, 學者或其他專家普遍接納之意見一致; (iv) 能正確地鑒 定拍賣品的科學鑒定方法在圖錄編印之不為一般所接受, 或 在圖錄載登時, 此方法過份昂貴或不實際或可能損壞拍賣品 的情況;或(v) 若根據拍賣品於圖錄之標題, 該拍賣品並無重 大喪失任何價值。 (b) 如欲因著作保證而索償, 富藝斯 保留其權利, 作為撤銷拍 賣之條件, 及要求買家提供兩名為富藝斯及買家雙方接納之 特立及行內認可專家之報告, 費用由買家承擔。 富藝斯無須 受買家出示之任何報告所規限, 並保留權利尋求額外之專家 意見, 費用由富藝斯自行承擔。倘富藝斯 決 定根據本保證取消 買賣 , 富藝斯或會將經雙方審批之獨立專家報告所需之合理 費用退還予買家。 (c) 受上述(a)所說明, 買家或可就著作保證在以下情況下提出 伸索(I)買家在收到任何導致買家質疑拍賣品之真偽之資料後 3個月內以書面通知富藝斯 , 註明購買該拍賣品的拍賣編號, 圖錄內拍賣品編號及被認為是膺品的理由及(II) 將狀況與銷 售予買家當日相同, 並能轉移其妥善所有權且自銷售日期後並 無出現任何第三方申索之物品退還予富藝斯。 富藝斯有權免 去任何以上(c)小段或(b) 小段 所說明之要求。 (d) 買家明白及同意對違反著作保證之獨有補償為撤銷銷售 及退還原來所付之購入價 退還款項應為買家唯一及取代其 他法律形式的補償及向富藝斯與賣家對撤銷拍賣的追索。 這 亦代表富藝斯, 其附屬公司或賣家均無須對此著作保證之補 償退款外之任何損失或損害負責。 不論該損失或損害為直 接, 間接, 特別, 附帶的或後果, 或為原有購入價支付利息。 本業務規定及保證, 準買家指引及重要通告, 如有任何詮釋上 的問題, 一概以英文版本為準。
香港中環雪廠街2號聖佐治大廈14樓
• 以個人名義購買 請填妥此表格並於拍賣日前24小時傳真至+852 2318 2010 或電郵至bidshongkong@phillips.com。 敬請細閱表格右列須知，並選擇閣下欲以個人名義或公司名義參與是次競投。
如閣下以商業實體名義購買，請提供由政府發出的公司證明文件(如公司
請選擇此表格之競投方式(選一項)：
註冊證書)之副本及擁有人及董事的證明文件，以核實有關公司。
現場競投 書面競投 電話競投
競投牌號碼
• 業務規定 所有投標的處理及執行、及所有拍品的成交及購買均按照圖錄所載之業 務規定執行。請於參與競投前細閱業務規定，並細閱第4段之內容。 • 如閣下未能出席拍賣會，本公司樂意代表閣下進行保密的書面競投。
請選擇閣下是次競投名義(選一項)：
• 本公司會按每件拍品成交價向成功競投者收取佣金或買家支付之酬金。 買家應支付本公司酬金，酬金費率為：拍品成交價首港幣3,000,000元之
以個人名義 以公司名義
25%，加逾港幣3,000,000元以上至港幣30,000,000元部份之20%；加 逾港幣30,000,000元之餘款的13.5%計算。
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Sale Information JW Marriott Hotel Hong Kong 88 Queensway, Admiralty, Hong Kong
Deputy Chairman, Asia Jonathan Crockett +852 2318 2023 jcrockett@phillips.com
Auction 25 November 2019, 10:30am (Lots 101-214)
Head of Department Isaure de Viel Castel +852 2318 2011 idevielcastel@phillips.com
Viewing 22 November 2019 23 November 2018 24 November 2018
Head of Evening Sale Charlotte Raybaud +852 2318 2026 craybaud@phillips.com
Auction and Viewing Location
10am – 6pm 10am – 7pm 10am – 6pm
Sale Designation When sending in written bids or making enquiries please refer to this sale at HK010419 or 20th Century & Contemporary Art & Design Day Sale Absentee and Telephone Bids tel +852 2318 2029 fax +852 2318 2010 bidshongkong@phillips.com
Head of Day Sale Danielle So +852 2318 2027 dso@phillips.com
Head of Online Sales Delissa Putri Handoko +852 2318 2013 dhandoko@phillips.com Specialists Jane Yoon +82 10 7389 7714 jyyoon@phillips.com Meiling Lee +886 908 876 669 mlee@phillips.com Sandy Ma +852 6192 9166 sma@phillips.com Specialists, Design Marcus McDonald +44 20 7318 4095 mmcdonald@phillips.com Sofa Sayn-Wittgenstein +44 75 5304 5679 ssayn-wittgenstein@phillips.com Senior Administrator Marian Ang +852 2318 2024 mang@phillips.com Administrator Katy Li +852 2318 2025 katyLi@phillips.com Senior Business Manager Othniel Jai Prakash +852 2318 2034 othnieljaiprakash@phillips.com
Front Cover Lot 156, Yayoi Kusama, Infnity Nets (detail) © Yayoi Kusama
Back Cover Lot 150, KAWS, UNTITLED (MBFL10) (detail)
Auctioneer Jonathan Crockett Photographers Arnold Lee Etta Kwok Jean Bourbon Kent Pell Mark Babushkin Alex Braun Charlie Sheldon Peter Schälchli Kei Miyajima Kim Sang Tae Matt Kroening Peter Lee Ricky Wan Special Thanks Anastasia Salnikow Beatrice Yu Xing Zhao Luisa Ku Zoe Chiu Catalogues catalogues@phillips.com HKD400/$50/€35/50CHF +852 2318 2000 Client Accounting clientaccountslondon@phillips.com +852 2318 2000 Client Services 14/F St. George's Building 2 Ice House Street Central Hong Kong +852 2318 2000 Shipping Christine Cheung +852 2318 2017 christinecheung@phillips.com
London, 12 December 2019 Public viewing 5–12 December 2019 30 Berkeley Square, London, W1J 6EX Enquiries Simon Tovey stovey@phillips.com
Tomoo Gokita So Tell Me Darlin’ acrylic gouache on linen 41.9 x 29.8 cm (16 1/ 2 x 11 3/4 in.) Painted in 2011. © Tomoo Gokita
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Index Afandi 178, 179 148
Arsham, Daniel
106, 107, 117, 118
Martinez, Eddie
Motonaga, Sadamasa 157
阿凡廸
艾迪．馬汀尼茲
178, 179 148
丹尼爾·阿瑟姆
135
Bochner, Mel
196
Murakami, Takashi 121, 122
105
Butzer, André
135
安德烈·布拉吉利
Nakashima, George
安德烈·布澤
169
105
Nara, Yoshitomo 123, 124, 125, 126, Calder, Alexander 165 Chase, Jonathan Lyndon
101
Chen, Wen Hsi 164
121, 122
196
Nagai, Tomoko 134 119, 120
136
村上隆
梅爾·波切內爾
169
Brasilier, André
坂知夏
157
元永定正 Mr.
Mr. 136 Ban, Chinatsu
106, 107, 117, 118
長井朋子
134
中島勝寿
119, 120
奈良美智
123, 124, 125, 126, 128,
128, 129, 130, 131
亞歷山大．考爾德
165
129, 130, 131
Nara, Yoshitomo
喬納森·林登·蔡斯
101
奈良美智 與 杉戶洋
and Sugito, Hiroshi 127
陳文希
164
127
168
倪有魚
Ni, Youyu 168 Fairey, Shepard 143, 144
謝帕德·費瑞
Farto, Alexandre aka VHILS 147 102
Figgis, Genieve
Foujita, Léonard-Tsuguharu
145
Parker, Erik 172, 173
146
Pantone, Felipe
Parlá, José
珍尼維·菲吉斯
139, 140
Party, Nicolas 109
Futura 141
143, 144
147
維里斯
藤田嗣治
102
172, 173
Futura
141
116
Pensato, Joyce Gokita, Tomoo 115
Peterson, Cleon
Halley, Peter 108
Richter, Gerhard
203, 204
彼得·哈雷
108
Rokkaku, Ayako
184, 185, 186
凱斯·哈林
197, 198
197, 198
Haring, Keith Hockney, David
142
202
Hosokawa, Maki
183
細川真希 176
Sciascia, Filippo
Hughes, Shara 110
Shiraga, Kazuo
155
Sugito, Hiroshi
133
112, 113 103, 104, 111
KAWS 149, 150, 151, 206, 208, 209, 210,
KAWS x Sorayama, Hajime 207
202
莎拉‧休斯
常玉
184, 185, 186
170, 171 176
155
132
KAWS
149, 150, 151, 206, 208, 209,
210, 211, 212, 213, 214 207
KAWS X 空山基
191, 192, 193, 194
雅各布·克賈爾
Klint, Kaare
188
Widayat, Haji
180
卡爾·克林特
188
穆根斯·庫奇
137, 138
杰夫·昆斯 Yamaguchi, Takeo 158
203, 204
羅德爾·塔帕雅
Warhol, Andy
Kusama, Yayoi 156, 195
格哈特‧里希特
高野綾
Ting, Walasse 182
205
142
112, 113
190
Koons, Jef
116
克萊恩·佩特森
133
103, 104, 111
114, 199, 200, 201
草間彌生
109
喬伊斯·佩扎羅
杉戶洋
加藤泉
Wood, Jonas
139, 140
尼古拉斯·帕爾蒂
110
Kjær, Jacob
Koch, Mogens 137, 138
何賽‧帕拉
白髮一雄
Tapaya, Rodel 177
Wanscher, Ole 174, 175, 187, 189
145
菲利波．夏夏
167
132
211, 212, 213, 214
埃里克 · 帕克
六角彩子
183
芬‧祖爾 Takano, Aya
Kato, Izumi
蕭勤
146
115
大衛·霍克尼 Sanyu 170, 171
Hsiao, Chin 167
Juhl, Finn
五木田智央
費利佩 · 潘通
190
205 156, 195
丁雄泉
177
182
奧萊．萬夏
174, 175, 187, 189
安迪·沃荷
191, 192, 193, 194
哈吉‧維達雅
180
喬納斯‧伍德
114, 199, 200, 201
山口長男
158
岳敏君
152
趙無極
159, 161, 162, 163
Yue, Minjun 152 Lalan 160 Lê, Phổ 181
謝景蘭 Zao, Wou-Ki
159, 161, 162, 163
160
黎譜
181
Li, Chen 166
李真
166
Liu, Wei 153, 154
劉韡
153, 154
Aletto Brothers. A Ruby, Diamond, Platinum and Gold Brooch, 1992 Estimate $60,000-90,000 A Diamond and Platinum Ring Estimate $150,000-250,000
Jewels Auction 9 December 2019 New York Public viewing 4 - 9 December at 450 Park Avenue or at phillips.com Enquiries jewels@phillips.com +1 212 940 1378
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111. Izumi Kato 加藤泉
180. Haji Widayat 哈吉．維達雅 00. artist
112. Finn Juhl 芬．祖爾
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